Posts Tagged ‘Martin Kippenberger’

Blackpaint 569 – Vikings, Toby and Wifredo Lam

September 23, 2016

Oslo –  Astrup Fearnley Museum

Why was Blackpaint in Norway?  For the Oslo Marathon, of course.  Since you ask, it was hot, hilly like Helsinki last year and there are roadworks everywhere.  At one point, the route went over a cinder track through a huge building site and into and round a container park – and then back again for another interesting visit, later in the run.

Anyway, the Astrup Fearnley is a private museum on the quayside. very swish area, big sports cars around; two floors of stuff, downstairs Hirst’s bisected cow and calf under glass – made me think of Skip James’ Little Cow and Calf Blues – an Emin tapestry with words, a Rachel Whiteread, a blue Malcolm Morley poster painting, a great, smeary grey Christopher Wool, a Kitaj and a couple of Helen Martins and a Sibony as a reminder of the Venice Biennale.

Upstairs,  80’s German Expressionists, as below:

 

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Martin Kippenberger – Sick Egg Boy

 

sigmar-polke

Sigmar Polke – 3 Apparitions.  These are huge, whole wall size.  There are others by Lupertz, Eichendorff and especially Kiefer – a shelf of huge, grey leaden “books” and one of those lead plaques with little girl’s dress and shoes embedded.

 

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Knut Rose – I Kulturlandskap

 

mystery2

Bjorn Carlsen – Suicide.

Locals, I guess, from the names; I just like the colours, really.  The Carlsen strikes me as a cross between Matisse and Kitaj’s cartoon style.   Great modern building, an hour’s visit to see the lot.

Toby Young 

For some reason, a large number of (male) Oslo residents strongly resemble the Tory “free school” activist; not, perhaps, the stereotype which springs to mind when we think of the Norse Sagas…

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Young

viking

Viking

 

Wifredo Lam, the EY Exhibition, Tate Modern

Yes, I always thought it was Wilfredo – and so it should have been, but it was misspelt when his birth was registered, it appears.

lam

I found the Lam to be a disappointment.  Very strong Picasso influence, especially Minotaur and Guernica; very colourless – where colour used to any extent, sort of all colours, as if random and pastel-y; almost an anthroposophical look, in loose, slanting strokes.  Overwhelmingly black, white, beige; spiky (like Sutherland), fork tines, wheels, swords, knives, ploughshares, small round heads/faces, physical discombobulation.  Lots of ritual figures, Santoria, Yoruba.  It livened up for me a bit when he stayed with Jorn at Albissola – I liked “The Brush” – totally uncharacteristic, spatters all over it.  A setof smaller framed works, on paper I think, figures in which recall Bruegel and Bosch.

In the first room, a couple of peasant portraits and a self portrait show what a fabulous draughstman he was.  So, influences and resemblances: Picasso overwhelmingly, Sutherland, Picabia maybe, Bruegel, Jorn…

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Yellow Runner

I know, it’s an old one.

Blackpaint

23.9.16

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Blackpaint 422 – Painting and Guinness at the Tate, Woolf and Joyce about town

November 21, 2013

Tate Britain – Painting Now; Five Contemporary Painters

First, Tomma Abts.  Abstract shapes that resemble metallic strips, bent into shapes, gleaming and casting shadows. as if real; flat patterns and clouded surfaces too but the metallic ones are the ones that stick.  I want some texture, though.

Simon Ling does wonky East End buildings and shopfronts, corners of houses… he does a red/orange undercoat which shines through here and there like Poussin; heavy, livid Kippenburger colours.

simon ling

Catherine Storey paints odd, furniture-like, abstract structures; I liked the drawings of the shell chairs, on yellow baking paper.

Lucy McKenzie paints astonishing, trompe l’oeil “corkboards” with typed sheets and photographs apparently pinned to them – they’re paintings, but they fooled me at first.  What’s the point?  There is something in the leaflet about fascism and nazism, but I didn’t get it.  They have to be seen, though.

Finally, there is Gillian Carnegie.  Black cats lurking on dark staircases, black flowers in black paintings.

Alison Wilding

Her sculptures, no one anything like any of the others, are in the Tate hall.  The one that struck me is like a well head, made from alabaster blocks, broken at the top and “repaired” with poured black latex.  The alabaster is like giant blocks of Turkish Delight.. or the remains of Jacob and the Angel, the Epstein statue in another part of the gallery.

William Scott

The other new picture, in the room with the St.Ives painters, is called Composition in Orange, Black and Brown and looks as if it has a pint of Guinness embedded in it.

william scott

Refreshing image.

The New Staircase

The Tate’s new spiral staircase reminded me of the one photographed by Richard Pare in the Moscow Cheka  flats that I wrote about in Blackpaint 345. Curved steps shaped like orange segments – Fred and Ginger would look good on them, but maybe a bit narrow to dance down.

Chelsea Space

At this little gallery across the art school courtyard opposite Tate Britain, an exhibition of country music posters from Hatch Show Prints of Nashville.  Cash two tones, Nelson headband, Bill Monroe, Airstream, Corn Dogs…

Cash

 

Rescue Dawn

The Werner Herzog film about Dieter Dengler, US pilot shot down in Laos and his amazing escape through the jungle.  At one point, I thought I was back at Aguirre, Wrath of God – that whistling bird call.  Either the same species in Laos and the Amazon or there is a “jungle sounds” tape.  Then, there was a beheading with a machete; Aguirre again.  At the end, it turned into a cheerleader for the US, with the assembled crew of an aircraft carrier applauding Dengler – or maybe Herzog was being ironic.

The Act of Killing

Wrote about this disturbing film last week, directed by Joshua Oppenheimer; how did he pitch this film to the killers and get them to take part?  It must have been a sensitive task, to say the least – or maybe not.  Congo and his horrible mates seemed quite eager to co-operate and to let it all come out.  Proud, in fact.  they seemed to be on great terms with the director, frequently appealing to him on camera, as “Josh”.  Should be a documentary about the making, maybe.

Jacob’s Room, Dalloway, Woolf and Joyce

Interesting to read that Virginia Woolf had read the first few chapters of Ulysses by the time she wrote Jacob’s Room in 1918 and was reading it again while writing Mrs. Dalloway in 1922.  Both Jacob and Dalloway are reminiscent of Ulysses in the way that Woolf skips apparently at random from character to character (some merely one-line sketches) to build up a scene or sequence; Joyce does this, but it’s just one of a whole range of techniques he pioneers.  The sky writing plane in Dalloway reminds me a bit of the sandwich-board men, advertising Wisdom Hely’s in Ulysses.  Not suggesting she was plagiarising – she hated Joyce’s “indecency” and “board-school” showing off, as she termed it.  Fascinating that two such different authors should come up with the same thing at the same time.

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White Line Fever 2

Blackpaint

21.11.13