Posts Tagged ‘Jerwood Gallery Hastings’

Blackpaint 594 – Reaping the Rye in Notting Hill

April 17, 2017

Out of Blixen, Riotous Company, Coronet Theatre, Notting Hill Gate

Kathryn Hunter (below) in the play which consists of four Blixen/Dinesen stories, stitched together with a little biographical narrative from Hunter as Blixen.  In the photo below she is playing a 13 year old girl; elsewhere in the play, she imitates a fish – rather effectively, in both cases.  I remember seeing her as Richard III at the Globe some 15 years ago; she seems to have unlimited powers of transformation.

The staging is varied – few tricks missed,  Mia Theil Have, playing at various times a peregrine falcon, an exotic dancer and a (bogus) angel, loses no opportunity to climb up into the stage curtains and utilise them as ship’s rigging or heavenly wings; she is most striking, though, as a peasant woman reaping imaginary rye with an imaginary sickle, all around the auditorium – like an animated Russian propaganda poster.  There are also stilts, a mobile piano, some minimal audience involvement and earth, or possibly grain, falling onto the stage from the heights (to crunch underfoot, during Blixen’s piece).  It’s pretty much magic realism.  I see Blixen as a bit like Frida Kahlo – Kahlo shattered by her tram accident in youth, Blixen afflicted by syphilis inherited from her father, I believe.  She’s popular with feminists; Paul Tickell, the writer of this piece, says she draws “in particular on the feminism which began to emerge out of the 18th century Enlightenment”.  It’s on until 22nd April.

Selfie to Self-Expression,  Saatchi Gallery, Sloane Square

Well, is it art?  Some is, for sure.  Fantastic exhibition if you are a teacher in search of a good trip out for the kids (judging by the number of school groups there on the days I went).

There’s a room of illuminated photographic panels with famous self-portraits that could never be assembled if you wanted the originals:  three of the famous old age  Rembrandts, Courbet, Manet, Renoir, Cezanne, Basquiat, Warhol, Freud, Spencer, Van Gogh, and Velasquez’ Las Meninas.

Then, a room of proper selfies: Russian daredevils atop skyscrapers, a swimmer kissing sharks – and another with a great white approaching fast behind him, Brad and Jolie, Cumberbatch photobombing U2, and so on.

Novelty tech as below; a creepy room where you appear in surveillance mode; a selection of creative self-portraits entered for an exhibition, containing some brilliant work. Highly recommended – I’ve been twice.

 

Who can this miserable old git be, with the glamorous, smoky-eyed woman?

 

The same pair, I think…

 

Russian jail tattoos, part of selfie exhibition.

 

Get Out (dir, Jordan Peele, 2017)

Starring Daniel Kaluuya, great in “Black Mirror”,  a warning to black American men to beware of white girlfriends with liberal parents.  Whatever you do, don’t go to visit for the weekend…

It’s full of references to other films: I got “The Prophet” (the deer scene), “Night of the Living Dead” (Romero’s original B&W), “Les Yeux sans Visage” (the surgery scene), “Under the Skin” (the Sunken Place) – not to mention “Stepford Wives”, which all reviews – well, mention.

When I saw it, at the Brixton Ritzy, there were only two black people in the cinema; a woman and her daughter, I think, sitting in front of me.  They were talking intermittently,  in a sort of Gogglebox way:  “Oh he’s not going in there, is he?  Get out now, you fool!” – that sort of thing.  Suddenly, a young woman’s voice, slight accent, French maybe – “Ladies; please can you stop talking?  Thank you”, from across the aisle.  Meanwhile, on screen, the black hero struggled to save himself from the Obama-loving white liberals.  The ironies abound.

Keith Tyson, Turn Back Now, at Jerwood Gallery (Hastings)

Keith Tyson

Tyson’s pictures are displayed as above, in a sort of 19th century Royal Academy Exhibition way. wall to wall.  They are so varied as to defy description, except to say that many have whimsical, surreal or ironic commentary.  I liked some, for instance, the rather Festival of Britain ones in the picture above.

The permanent collection at the Jerwood, although small, contains some beautiful pieces, by Michael Ayrton, David Jones, John Wells, Barnes-Graham and others – especially Eileen Agar, who has a room to herself:

Eileen Agar – rather like Colquhoun and MacBryde, I thought

 

Agar again

 

Christopher Wood

Next week, Queer British Art at Tate Britain.  Readers in London during the next two weeks may like to visit our annual exhibition at Sprout Gallery (see below):

Western Approaches (WIP)

Blackpaint

17/04/17

 

 

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Blackpaint 530 – The Angels, the Superhighway and the Deer Hunter

January 31, 2016

London Art Fair, the Angel Islington

Finished last week, I’m afraid;  a great little “exhibition-within-the-exhibition” from the Jerwood Gallery in Hastings; my favourite was the “Winter Landscape” by Barns-Graham – tiny but good.

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Wilhelmina Barns-Graham

Other highlights below:

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Dorothy Mead 

A Bomberg disciple – but these are every bit as good as DB, in my view.

 

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Keith Vaughan

Very unusual Vaughan – touch of Bacon in the middle, possibly?

 

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Alan Davie

There were dozens of Davies (and Roger Hiltons and quite a few Hitchens); high quality ratio though, with his trademark symbols, lovely blues and yellows and rough surfaces.

Electronic Superhighway, Whitechapel Gallery

Private view of this on Thursday night; the usual roar and surge of the crowd to get to the free drinks before 7.00pm, after which time you have to pay.

The term was coined by Nam June Paik, whose exhibit was one of those – maybe the first one of those –  batteries of TVs, each showing a recurring series of visually explosive images too fast for you to grasp more than one at a time, with an accompaniment of cacophonous sound.  The theme of the exhibition is the effect of computers and the internet on art.  The theme was more evident in some pieces than others…

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Deathoknocko, Albert Oehlen

Combination of computerised inkjet and hand painting.

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Peter Sedgley

Light projection from 1970.

 

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Celia Hempton

These are screen-size paintings of images from the internet – some – ahem! – rather controversial, perhaps…

 

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Vera Molnar

Several printout works from 60s and 70s.

Rabelais and Joyce

As I get further into “Gargantua and Pantagruel”, the more I am struck by the similarities to “Finnegans Wake”.  The long list of books in the library of St. Victor with their ridiculous titles is only one small step back from Joyce, as are the encounters with the Limousin who speaks gibberish and Panurge,  who talks sense – but in a variety of languages, including Hebrew and Basque(!) that his interlocutors can’t understand.

I got quite excited about this “discovery”, wondering if there was a thesis knocking about on the subject in some European or US university – then I read the excellent translator’s introduction by JM Cohen.  There it all was, similarities of Rabelais and Joyce, written in 1954…..

However, I feel that there are sufficient grounds to advance another of my reincarnation propositions here (see previous Blackpaints, which prove that Shakespeare was the reincarnation of Michelangelo).  Both Rabelais (or Alcofribas Nasir, as he called himself – work it out) and Joyce did long lists; both spoke and used a variety of languages, some rather obscure, in their works; and both wrote passages – in Joyce’s case, hundreds of pages – of “nonsense”.  Case proven.

The Deer Hunter

I had one of those cinematic moments last night, when you’re in a noisy public place and suddenly everything goes sort of silent, or merges into an unspecific background drone and things go slow motion.  Could well be wrong, but I think it was “The Deer Hunter” – wedding scene maybe, Meryl Streep dancing and laughing – it’s a cliche, of course, probably used in loads of films by now.

Anyway, I was sitting in a packed and roaring Tooting pub, third pint of London Stout before me, celebrating my eldest son’s birthday and engagement.  I looked at the bar and there they were, the three brothers and their girlfriends, laughing and shouting to each other above the noise, eyes shining – and the Deer Hunter moment clocked in, inside my head, and lasted probably only a couple of seconds.  Then I was aware of it and it went.  First, I was happy and proud; then I had a moment of near dread; everything changes, it will never be like this again…

So those effects are cliches, melodramatic and worn out; but very effective, nonetheless.

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Exterminating Angel (work in prog)

Blackpaint

31/01/16