Of Croatian Beasts and London Artistic Feasts

'suspended'

It has been an orgy of art since I arrived back in London just over a week ago. Russian/Communism inspired exhibitions kicked off my visit as I enjoyed Red Star over Russia, Centre for Russian Music: Inside the Collections at the Barbican, and The Currency of Communism. There was no planning, just a desire to reacquaint myself with my favourite artistic haunts and, inevitably, connections started forming. Obviously I am catching the tail-end of exhibitions put on to commemorate the 1917 Russian Revolution, but it's always possible to see beyond the obvious.

Tales from the river to the ocean

Brest Maritime International Festival

I am currently living in Atlantic Wharf on the banks of London’s Thames, and September’s Totally Thames festival is in full swing. This timing is a perfect opportunity to make connections; London and Dalmatia; the Atlantic and Adriatic; industry and artistic endeavour; environment and exploration. It is clear that we can learn from those who spend their lives on and around water. Teamwork, effective communications, information sharing, and contingency planning are all essential.

Dark and terrible: Beyond Caravaggio

Many high profile reviews of Beyond Caravaggio have criticised it because it only contains six works by the master himself. However as the exhibition title makes perfectly plain, it is looking beyond Caravaggio. The stress is clearly on the word 'beyond'. It aims to examine his legacy, critique his followers, and put him into a wider context. Given his mastery over story telling, he deserves to have his own place in the art history story, as the quality of those incredible six pieces demonstrate. 

Waiting with Magda Mozarka

Waiting. We sit on the island content to wait. Waiting weeks for the moon to be in the right quarter so we can fish. Waiting months for the fruits to ripen so we can start the harvest. Waiting hours for the heat to pass so we can work. Waiting for the time we can leave this island for provisions...the inevitable slow but steady natural clockwork marking time. An hour hand of ferries offering a smaller human scale to the wait. Just waiting. When waiting is part of a culture, patience and acceptance almost to the point of madness is inevitable.

The Tradition of Bosnian Catholic Tattoos

There was a spell in the not so distant past where I did a module on exhibiting the body as part of my MA in History of Art. It was one of the more challenging subjects because of the sheer newness of the subject to me; basically I was pinging around like an over enthusiastic firework because every lecture we had presented a new idea which I wanted to pursue. Did I want to stay in the renaissance where the body was emerging as a machine, or head into enlightenment with wax modelling, Victorian health and death, or be in the present with bodies and taboos? This also coincided with some interesting events at London's RAI, where I wrote up a film about bodily suspension. Body modification and using the body as a canvas still really intrigues me, which is why a talk given by one of my fellow students in the Croatian Civilisation and Culture class today made me dash here and blog about it. The research is all hers but where I was unsure, I've added, clarified, and interjected because I'm annoying like that.

Revelations in glass

Eleanor Morgan

It's been my intention to write and record something about glass for a while now, primarily looking at it from a combined scientific and contemporary art point of view. For instance, Luke Jerram's mysterious shapes of viruses - ebola, MRSA and swine flu - crafted from glass, or the sculpture made from glass laboratory implements recently exhibited in the Wellcome windows. Then recently there was the stunning Glass Delusions at the Grant Museum which was partly inspired by nature's foray into silica based organisms. The inexplicable and unique scientific nature of glass makes it a perfect material of artistic endeavour, able to capture fragility, a human moment of stillness in a medium of movement.

Croatian Art on the Horizon: Lecture by Vanja Žanko

Cursed Crew (2013)

I took my new language on an artistic field trip to Wandsworth on Tuesday evening. Kristin Hjellegjerde's gallery was hosting an event under the auspices of the Creative Croatia Festival, and people with an interest in the Croatian art scene were there to hear freelance curator Vanja Žanko speak. She not only spoke about her curatorial work with various international artists but offered an insight into the artistic world in Zagreb, and Croatia more generally.

It seemed appropriate to talk about artists and their position as antenna of current events against Kirsten's current exhibition of Ethiopian artist Dawit Abebe. In his large scale, enigmatic yet colourful canvases, he explores the conflicts that can arise when history and technology collide. Although he is talking about his own culture, he is placing it against a broader international context, as he says, 'Ethiopia, like many developing countries, has struggled with the impact of technology and modernisation and its place within a long and rich local heritage and culture'. And that is precisely what Vanja is interested in.

Dresden Conference: The one with Horse Blood and the Hunt

Can't resist this mirror

So this is it. The concluding session of the Dresden Conference on Cabinets of Curiosity. That two day event has provided a wealth of material, as well as making me think about the most extraordinary things. On reflection, the last three sessions were far more controversial than I originally thought; death and colonialism; classifying the unclassifiable; and this final session, which amongst other issues, discussed the blurring of boundaries regarding human and animals. I've combined Marion Endt-Jones and Sarah Wade's talks because they are relevant for my work, and they both used the Musee de la Chasse et de la Nature as a case study.

As Donna Roberts had already noted, 'cabinets of curiosity' have been the topic of many shows to greater and lesser critical success. Marion Endt-Jones suggested we were in a new age of curiosity, citing a raft of shows, from the Manchester coral show, various European exhibitions and the growth in alternative wunder- museums. She suggests that this revival is not just inspired by surreal art but a wholesale 'questioning of institutions'. It is also a reaction to the corporate nature of the white cube, an inevitable and long overdue rethink of ubiquitous bland, open, unnatural, cold galleries.

Logical Rain: or, the rain in Japan falls...

Sometimes the unintended visits to a place turn out to be the highlights. Although I am here in Dresden on another mission entirely, there is inevitable free time. So having never been to the Japanese Palace on the other side of the Elbe, it was pleasant to while away an hour in the rain.

Yes in the rain. It started with a video  of the Japanese monsoon; lingering shots on industrial landscapes, cityscapes, suburbia, all silent except for the rain. Remembering Whitacre's Cloudburst made me think of rain's musicality. The bursts of forte staccato on a tin roof, the murmuring pianissimo on leaves; an entire orchestra of musical possibility.

What is my dissertation about?

The Elector of Saxony’s wire drawing bench (1565) is an extremely complicated piece of art and technology which remains relatively unknown outside France and Germany. It deserves to be more widely known not only amongst the general public, but also art and cultural historians too, due to its unique straddling of the Renaissance art and scientific world.

Walead Beshty at the Barbican

Too many lectures not enough art was the verdict yesterday. With the coming of the darkness, rather than listening to words, it was time to exercise the eyes and imagination. And what better way to escape the inky night than head towards the mysterious and overwhelming blue at the Barbican?

 

Blue, as the National Gallery showed us earlier in the year, used to be one of the most expensive and show off colours in the colour spectrum. It is also, I find, one of the easiest ways of lifting the spirits; to lie in the green, whilst looking at the blue is a happy experience. So to see an entire curve of white and blue, was at once earthly and unearthly.

An unknown V&A Cabinet - some thoughts

I'm on the cusp of handing in my dissertation and to both my delight and dismay, I'm still finding potentially relevant interesting additions. As I explained to the lovely assistant curator at the V&A last week, it's as if the bench has provided the key to many doors and I'm being invited in to explore. Two items have come to light this week and I wanted to  quickly get some thoughts down on paper. The first is related to my V&A visit, and the second is a Jost Amman woodcut which I have just discovered. I will be focusing on the first below.

On Thursday afternoon we went down to the old post office which serves as the storage for one of the most interesting museum collections in London. As we were issued security passes, the AC was there waiting to escort us upstairs to a massive lumber room with the most interesting rolling shelves contents I've ever seen. As she identified the right shelf, we looked around us, taking in the stag horn mirror, a golden bed stead, 1950s sofas, and various interesting shapes covered in white dust sheets. Like an attic of sleeping beauties, waiting for a visit from someone who knows where to find them.

Thoughts on ​Art, Funding and Conflict

Storm clouds gathering

Apparently some small world events have broken out whilst I've been studying. Thankfully my work enables me retain some semblance of a connection with the news, through reading the papers and having vaguely intelligent conversations with colleagues.

One of these colleagues is an interesting outspoken individual with some strong views. A lawyer, with strong views? Yes I know, most strive to be beyond bland but there are some out there willing to stick their neck out.

We disagree on many things. Our most recent putting the world to wrongs is the Palestine/Israel conflict, about which we profoundly clash. He has familial, emotional, and I guess, client ties to Israel; whereas I am merely a relatively well informed onlooker with horrified and baffled sense of unease about the whole bloody conflict. In my view, the forces on neither side are particularly pleasant, and I feel that there are powers working behind the scenes to prolong the agony of the average person on the war torn streets.

Mastering Colour and other tricks

High definition colour feels like an entirely modern invention. Saturated manipulated photos, flat screen LCD tvs and 3D cinematic experiences combine to produce a visual pummelling apparently like never before. We have become so accustomed to synthetic colour that we take it for granted, like a cake addict, we are immune to the occasional treat.

So when we emerged blinking from the national gallery basement last night, our eyes had been reset and our brains reattuned to the special nature of the colours around us. The ridiculously blue cock and the bright flags of Trafalgar Square shining in the sunshine had taken on a new significance. They seemed to be a continuation of what we'd seen in Making Colour. A colour wheel of life, perhaps.

Introduction 2: This time it's kunstgeographie

Not distracted by the view. Oh no.

When looking at art, the viewer should be encouraged to consider geographic issues, to enquire how far environmental factors impact on the society, economy, psychology which produced the piece of art or architecture. In my view, the place of art is as important as the history of that same art; after all, both have informed it equally. For example, in the heart of royal Dresden, along the Augustusstrasse, attached to the back of the Royal Mews, a 102 metre long ceramic mural dominates the street. Known as the Procession of Princes or Fürstenzug, Saxony’s rulers from the first, Konrad the Great (1127-1156) to the last, Friedrich August III (1904-1918) are shown. Originally painted between 1870 and 1876 by artist Wilhelm Walther to celebrate the 800 year anniversary of the Wettin dynasty, they were originally presented in lime wash and stucco but were made permanent in Meissen porcelain in 1906-07.[1]

'Fabric' Review: No sun without shadow

Malina Busch 'Fluorescent Blush'

This review was going to be a celebration of summer colours; of shutting ones eyes against the June solstice, leaving echoes of bright pink, rich blues, willow green flashing across the vision, leaving red spots in their wake. I wanted to waken a joyous holiday spirit found in new summer clothing; softly draped fabrics dyed in fluttering colours. Instead I've found myself unwillingly drawn to secluded gazebos hiding clandestine encounters, and surreptitiously lifting tablecloths to see who is touching who inappropriately.

Which sounds like every summer party I've ever been to, so what better exhibition to open in June than Fabric? This show was inspired by the current trend for artists, both established and emerging, working with all kinds of cloth. From embroidery, tapestry, found material, string, canvas…as well as combining it with other media. After the experience they had at the Exeter Contemporary Open, the curators followed up some old and new leads which led to this exhibition. 

From Stigmata to Golf: Praying through the ages

This was an interesting start to Birkbeck Arts Week. Given the MA Catholic reformation module, I thought it would be a on topic diversion. As the blurb said, 'in our secular world, prayer has become unfamiliar, and past cultures where prayer was more central are harder to understand. Dr Isabel Davis (Birkbeck), Revd Dr Jessica Martin and Dr Nicola Bown (Birkbeck) discuss representations of prayer in literature and art in the Middle Ages, the seventeenth century and the Victorian period. Technique of prayer; what it is and what it is like'.

Dr Isabel Davis and her band of pilgrims set out from the late Middle Ages. For the church going population kneeling was a natural, obvious, submissive posture. And yet, where did this invented and culturally specific idea come from?

Dresden Thoughts

I'm currently looking up at the sky. Reclining in the welcome silence of the hotel's quiet room with a cup of fruit tea. It's a fabulous place to collect one's thoughts and anticipate the weekend to come. The art historical odyssey of tomorrow and Sunday was merely words on a page today; though at least we know where we're going.

This visit has a purpose. Last year in Paris I came across a very special object in the Musee de la Renaissance. The Elector of Saxony's wire drawing bench is a perfect MA dissertation topic and I started work on it straight away for my summer report. You can take a lot from books and journal articles, but to truly get under the skin of a patron and his works, you have to see his place. His home. His culture. So here I am, banging on the door of the Royal Palace.

What is Sculpture Made Of?

Cava del Braschi, Monte Ceceri

This lecture opened in entertaining style with an immediate reference to the previous one. Dr Dent had practically skirted over material/technique of sculpture but here Dr Jim Harris went straight into this interdisciplinary aspect with the statement (I paraphrase):

Sculpture is what it is we do when we take a memory of people. It goes to the heart and into the very notion of humanity.

We quickly dispatched painting and slammed the door firmly in its face. Painting can be anything but sculpture is better. Materials are as varied as the sculpture they make. Painting tells us a lot but the material of sculpture tells us more. At this point we could have concluded the lecture. But as he says, we would have been rather disappointed. I think what we needed was to be in a quarried amphitheatre, sat amongst the elements of sculpture.

My Love Affair with Cardinal Alessandro Peretti Montalto Begins

Although the intellectual life of the artist is crucial, my focus this weekend has been on the patron and his concerns. I'm coming round full circle to my initial essay idea which focused purely on the Montalto Madonna - this would embrace all the thoughts I was having regarding the renewal of the church, private devotion, poetry, music, innovations in the creation of art and so on. The other paintings are interesting but I think I will end up using them as guest appearances to support the main feature. One of the reasons for this is we can only be certain of one of the commissions - I have been unable to find out who commissioned the other paintings and this would lead to a very unbalanced essay. These are my musings about the man who commissioned the Holy Family so far.