Posts Tagged ‘Nuri Bilge Ceylan’

Blackpaint 492 – The Three (or Four) D’s and Art House Sleaze

April 24, 2015

Sonia Delaunay, Tate Modern

delaunay black snake

A stunningly beautiful exhibition, cousin to the recent Matisse cut-outs and the Paul Klee show;  I was interested to see that the paintings got more vivid as she got older – in the earlier ones, the colours are more “muddied”, as can clearly be seen in the two examples below.  Another thing I liked was the rough edges, as if she’d cut out the shapes and stuck them on; gives the earlier works a pleasing wobbliness, somehow.  Like most – all? – artists, she has limits; there’s little texture or spontaneity and she recycles a number of devices: squares, triangles, circles, “S” shapes.  But then, that’s probably enough for one life-time, if you take the costume- and textile design, mosaic, tapestry and book/magazine covers into consideration…

Anyway, here are some things to look for:

  • Tchouiko (1907-8) – portrait; check out the droopy, Nosferatu fingers.
  • Binding of “der Sturm”, in the cabinet.
  • Young Finnish Girl – that blue (and red/pink).
  • Box (1913) – I’m sure that’s a painted button on the lid.
  • Bal Ballier, on mattress ticking – the women reminiscent of August Macke, I think.
  • The two on the end wall that are like knots, or skeins of coloured wiring.
  • The switch – or diversification – into fabric and costume design; hilarious film of lovely 20s and 30s models posturing and the huge, perpetually rolling fabric machine; dresses, ballet/theatre costume, fashion drawings and photos.
  • THEN – in the late 30s and 40s, back to painting.  I’m not sure if that corresponds with a real change, or if it’s just the effect of the way the exhibition is set out.  Vivid, sharper-edged paintings reminiscent of watch movements (see Rhythm Colour 1076, below)
  • The 1937 Paris exhibition room, with the huge, Gris-like murals of the propeller, the steam engine and the control panel.
  • “Coloured Rhythm 52” – my pick of the exhibition (can’t find a picture of it), along with “Black Snake”, just about the last painting in the show.

Great to see her separated out from Robert for once – as soon as I publish, I’m going to Google him to see if I can discern a clear difference between them; I seem to remember a shape or motif one used, but not the other.  Apart from Robert, the only other artists that popped into my mind going round this were El Lissitsky and Malevich – not that similar, but passing resemblances..

Delaunary 2

1914

 

delaunay 1

Rhythm Colour 1939

As my regular reader will know, I am a connoisseur and originator of Fortean-type theories – see, for example, Blackpaint 217, in which I prove that Shakespeare was a reincarnation of Michelangelo.  I cannot be alone in wondering about the cosmic significance of  three great “D”s in modern painting, all on exhibition in London at the same time – Diebenkorn (RA), Dumas and Delaunay (TM).  Actually, it’s four, if you count the De Koonings that are part of the Jenny Savile– selected group at the RA.

Climates, Nuri Bilge Ceylan (2006)

Following on from last week’s “flawed male characters” feature, Ceylan himself appears in this with his wife, playing the sleazest, most self-regarding male lead I can think of in modern cinema; he hangs around hidden in a doorway, waiting for a target woman to come home alone, then lets her spot him – and of course, she lets him in and ends up rolling about underneath him on the carpet as he pulls her clothes off and… cut away.

His wife, a TV producer, leaves him – actually, she sticks her hands over his eyes while riding pillion on his scooter, causing him to crash, so she must have been desperate.  He pursues her to a remote location in a permanent blizzard, waylays her in the company bus, tells her he’s changed – he’s ready to marry her and “give” her kids, so she should pack up her job and report to his hotel for sex forthwith… And, yes, she’s there waiting for him, on the bed (still dressed, but not for long).

I won’t spoil the surprise ending; presumably, Ceylan would argue that the film critiques the sexism of the sophisticated Turkish male – but the women are shown as vamps or victims.  Great cinematography and locations, of course.

 

Down Dog

 

Down Dog.  I think this is my best for ages.

Blackpaint

24.04.15

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Blackpaint 491- Witches, Flawed Males and Barry Island

April 20, 2015

History is Now , Hayward Gallery (cont.)

Went back for my second view – you get two visits for the price of one, because there are several films to watch, too long for one trip.  Great photos in the Hannah Starkey section, including the Hurn one below; look at the depth of field.  Also, the Penelope Slinger film on the back wall is worth a good look, if only to work out why it’s more than outdated but agreeable soft porn.

david hurn

David Hurn, Barry Island

Of the films playing on the TV sets, the most interesting was the selection of excerpts of Jeff Keens films.  The high speed succession of images, gone before you have a chance to register them, the roughly drawn surrounds, collaging, burning photos, wax figures that melt instantly, comics, adverts, newsreel(!) – all familiar techniques and almost quaint now.  Took me back to the Venice Biennale 2013, where there was a similar, but huge, film playing in one of the pavilions (see Blackpaint, October 2013).

There was also the Stephen Dwoskin film of Bill Brandt images: Francis Bacon on Hampstead Heath with the lamppost, the silhouette of the cow on the hillside over the valley, the urn on the balustrade… and another great back for my collection (see several previous Blackpaints).

 

bill brandt

 Bill Brandt

 

Goya drawings and etchings, Courtauld Gallery

There are a few etchings – the one below, “Ridiculous Folly”, is the best; many more done with brush and ink – “Mirth”, second below – and some lithographs.  They mostly consist of his witch drawings, although some concern madness. vanity and old age in particular.

There is no doubting the genius of these little pictures; they border on caricature, but you get the feeling that he hasn’t exaggerated features that much – just put the women in nightmares and “funny” situations.  And they are nearly all women; I can only think of one male character, in restraints,  representing Madness.

I found them brilliant, but cruel and often sneering – he was obviously not keen on old women.  Furthermore, I couldn’t see the point of them; they are described as his private works, done for his own purposes, not for publicatioon.  Most artists would stick to sketches to amuse themselves or practise technique.

 

goya1

 

goya mirth

One other character in the Goya drawings was Celestina, who was apparently a stock figure in Spanish literature, an old procuress; reminded me of the famous Blue Period Picasso, “Celestine”, and provides an excuse to reproduce it.

picasso la Celestine

 

Flawed Male Characters

As are all male characters, of course; but recent re-watching brought to mind the three below in particular:

The ratty, porn-watching, intellectually snobbish poseur Mahmut (Muzaffer Ozdemir) in Ceylan’s “Uzak”;

his country cousin, the inarticulate, unsophisticated, lumpish, lonely Yusuf (Mehmet Emin Toprak) in the same film; “Have a sailor’s cigarette…”

uzak1

uzak2

 

And in Michael Handke’s “Hidden”, Daniel Autueil’s TV interviewer who has committed a secret act of betrayal at the age of six and whose wife, Juliette Binoche, regards him with a blaze of righteous contempt and accusation throughout, whilst backing him up dutifully to the denouement.  Three great male cinema heroes for the current age…

Three lifies to finish, Vanessa on the Couch 1,2 and 3.

 

vanessa couch1

 

vanessa couch2

 

vanessa couch3

 

Blackpaint

20.04.15