The Boat Road

How do you view the world when you're five years old? How much of that youthful joie de vivre do you - and can you - retain as you hit middle age? Having rarely spent so much time with a young gentleman it's been an interesting couple of weeks, and in some crazy irresponsible ways, it seems I have more in common with my young nephew than my younger brother.

 

This is not meant as any kind of criticism of my brother. Indeed I adore him and he is an inspiration to me; he's a parent, a carer, a survivor of a very different and difficult upbringing in comparison to mine. Those six years between us might as well as be sixty. But as my exhausted adult friend and family nodded off on the final stretch of their journey, the inevitable result of an early flight, me and my nephew bonded on the ferry ride back to mine.

Hospitality: Or, what makes a room a home

This is hopefully part of a longer piece generally, but I thought it would be a positive way to embark on this Friday blog challenge. Since I've been heavily reliant on short term accommodation during my time abroad, excellence in hospitality has been on my mind for a while.

 

My journey began in February. So I could start my year in Croatia in style, my friend and I took a road trip through France and Italy for a week. As we headed south to Ancona, we purposefully stayed in a wide variety of places; from a family owned medieval Italian palazzo, a 1920s spa town grand hotel of faded grandeur, as well as a hysterically 1980s orange hotel room somewhere near Montpellier. Most of these were memorable because of the freedom and fun of travelling, and excitement of not knowing what to expect from our temporary residences.

A short hiatus

A short hiatus is occurring as I am actually in transit.

I have no idea what is going to occur on this blog in the future. Art, librarianship, lectures and more exploration of the things around me, I hope, In the meantime the travels are being recorded at Contrary Towers.

Normality(ish) will resume shortly.

Are we alone?

Sam - alone; sole; only

Samoća - solitude; loneliness

Samostan - monastery

Samovoljan - self willed; obstinate 

In a Split art gallery yesterday there was an incredibly evocative wooden sculpture called 'Sam IV' (1972) by Branko Ružić. It was in dark old wood, a trunk hollowed out to resemble a seated figure, hunched against the world. His back, shoulders, and head are rounded, hands seemingly tucked under his thighs. The effect of Ružić's simple, empathic carving is on the surface utterly bleak. If a friend or loved one was to sit like this, you'd think their world had fallen in. 

The Sounds of Dubrovnik

I don't usually write about music because I find it extraordinarily difficult to articulate, unless in poetry. When I have talked about sounds, it's usually in the context of sound art, which is an entirely different thing. However music and musical inspiration has been unavoidable since I arrived in one of my favourite cities. 

I've forsaken my usual podcasts or music, and left off the headphones which are usually worn to protect my sanity. However the usual London assault on my hearing and consciousness is conspicuous by its absence. The last intelligible commotion was on the plane where a rowdy group were commencing their holidays. Since then it's been a babble of many languages, the frantic cry of swifts, the gentle burble of boats on water, and the clack of feet on marble.

All cities have their percussive chant; London is probably best described as a continuous high octane techno-trance-electonica, pumping out its noise like the recent illegal rave held on my street. The contrast to London, this other ancient city still feels like it moves to the creak and roll of the ships; or the beat of the Roman trireme. Yes there is a pulse but felt in the stillness of the upbeat. So to lose this anticipation of a different song would be most churlish. So the headphones remain unworn.

A New Chapter: Enter the Podcast!

I've finally done it. It's taken me nearly two months but I have just gone live with my first ever podcast. This has been a new experience for me because I'm so text based and afraid of the sound of my own voice. It turns out that I have no need to worry, thankfully, I don't sound like a complete idiot.

The process has been interesting and extremely time consuming. A blog post is usually 500-800 words, longer when I am working on an essay. But when you want 15-20 minutes of spoken effort, you need nearly 2500 vaguely coherent words. On the bright side, although some research is required, it's not like doing anything academic because I want to keep it interesting and above all, accessible. Therefore writing a script took almost an entire month, given work and life interruptions.

Clare Goes on a Bitchy Rant

My first non-librarian/KM conference is finally over. My experience was mixed; I'm returning with a phone full of Evernotes and a head overflowing with as yet jumbled ideas. I've not really assessed the learning yet because it's rather daunting and I've no clue where to start. But never have I encountered such cliquey unfriendliness, and in some cases pure discouraging rudeness.

Academia has a problem. You only have to regularly read the Times Higher Ed and realise that the humming halls of learning disguise a bearpit of competition, backstabbing and secrecy. I'm an outsider in this world, just standing on tiptoes looking in, like a child at a window listening to warring parents. And I've no wish to join this dysfunctional family in a professional capacity. My library training and natural inclination is for openness, collaboration, and making room for new ideas from external influences and as such, I'm clearly unwelcome.

From Jerusalem to Bethlehem: or Wo ist...?

There are a number of reasons why a few days in Berlin is a Good Thing. The least important one, despite it being the main event, is the rather large Renaissance Society of America 2015 conference which stretches over three packed days. More of that anon, if I ever navigate the 500 page programme guide. And once I have chosen lectures, will I find the right place out of the 100s of seminar rooms dotted around Humboldt University campus.

Materiality of Art: Or is computer art, art?

It's rare that any lecture fails to spark a meteor shower of ideas but just occasionally I'm caught off guard. The LSE arranged an event to explore philosophical issues about art, and ask whether computer artworks are physical objects? Do they really qualify as art? The speaker Margaret Boden is Research Professor of Cognitive Science at the University of Sussex. I'd never seriously considered the more intellectual arguments about what constitutes 'art' and it also fitted in well with one of the German sessions of the Dresden conference which had focused on modern examples of mirabilia. I obviously hadn't written up that session so felt this was a good opportunity to synchronise some images and notes.

It's a good job I had some mental images of computer art because Boden provided no slides; 'she isn't into technology'. Was it wrong that alarm bells immediately started ringing? I don't paint with oils but I know how they feel, smell, am aware of their texture and understand their material 'paintiness'. I am no computer programmer but have a reasonable understanding of the architecture which sits behind the screen. My knowledge of marquetry is restricted to memories of my father and his woodwork, as well as reading how to guides, so I know about grain, colour, texture, symbolism. Historians of art require insight into the materiality of the objects they are studying, otherwise how do you understand the challenges that face the artist? It is telling that despite my linguistic incapabilities, I gleaned far more from Verena Kuni's visual presentation than Margaret Boden's words - pretty much the way when dealing with art!

Dresden Conference: Chimeric Blobs, biological art, or where I go off script

The penultimate talk which I want to cover here marks the descent into something much darker than death and memory; the creation of life. Paradoxically, what should be the most joyous occasion is in an artistic/scientific context, the most troublesome. I can understand that the 16th century natural philosophers attempted to recreate the natural spark of life, and much has been said about this. With ingredients ranging from blood, semen and horse manure, I wasn't sure that the creation and display of modern artificial life would be as distasteful as some of the early modern alchemical recipes.

Helen Gregory's 'Curious instances and chimeric blobs: Disrupting definitions of natural history specimens through contemporary art practice' opened with a discussion about what constitutes a natural history specimen. From the historical wet and dry specimens, which served their purpose adequately, to new technology meaning that objects can be cryogenically frozen. Scientific and laboratory collections have inevitably moved away from their 19th century ancestors and, like some of the samples, evolved beyond all recognition.

Dresden Conference: Part One Cabinets of Curiosities / Wunderkammern / Kunstkammern

 

View from the theatre

These are the first set of many notes taken at the Dresden Conference on the Cabinet of Curiosities in Contemporary Art (16-17 Jan 2015). As background, the programme states that 'we seek an overview of current debate, artistic, and curatorial strategies. The contemporary version of the cabinet of curiosities is a machine for alternative world views, because inquiring minds and the thirst for knowledge cannot be tamed. What are the curiosities of the 21st century? The mirabilia of the digital age? What are the politics, ideologies and dynamics of today's Kunst- Wunderkammer?'

 

So why here and now? In 2014 the Academy of Fine Arts celebrated its 250th anniversary of its foundation. This conference came about as part of the celebratory events. It accompanies Mark Dion's 'Academy of Things' which is currently on show at the Hochschule. I will come to that separately. Dresden is uniquely placed to host this sort of event because of its own Kunstkammer pedigree, but also its proximity to the Hapsburg collections and the House of Wettin with its pan European connections. Not to mention the desire to cut into contemporary art debate.

Family, Free Spirits and 3 Winters

 © Jagoda Kaloper-Tajder

In true Renaissance woman style, I'm worried  I'm over-intellectualising my new found enjoyment of a foreign culture. As I ponder the consonants of an unfamiliar language and struggle with the concept of strong family connections, Slavic myths and fairy-tales, and bloody wars, I can't help thinking I'm falling into some kind of mental short circuit.

I've never had the urge to create a family environment. Continuity of lines and names mean nothing to me. Familial loyalty is limited to three people who I love unconditionally but they are long distance relationships. We are who we are; and perhaps we desire that which we've never known. This goes part way to explain my fascination with the Croatian language with its multiple words for nephew, niece etc., depending on whether it's your father's or mother's family. This is such an alien concept that the rigours of cases and word endings come as intellectual relief.

What about an art history podcast?

This isn't a post of note, more a note of a post. An indulgent weekend led to a moment of brilliance, or perhaps it was because I'm still riding on the crest of a wave on my recent dissertation results. Whatever it was, I'm now confident enough in my abilities to believe and acknowledge that brainwaves actually occur to me.

My idea is this. I'm going to enter the world of the spoken word and present a podcast called Renaissance Utterances. My focus is going to be on precisely what I am good at; that is to say, the history of art from a interdisciplinary point of view, with emphasis on the early modern period.

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.

Where is my Parnassus on Wheels?

Books…I’m not going to tell you precisely how much I’ve spent on books this past three months. Mostly because I don’t know and doing the maths scares me silly. Suffice to say I’m doing my dissertation and to save time, I bought some of the more obscure titles to save me time and having to go to the closed at weekend libraries.

I don’t have an excuse for the latest addition to the Clare Brown Institute but it confirmed a few wacky ideas I’ve been having recently. Picture this.

It’s that mid-afternoon lull, where you have that head fug, poised within a post-tea, pre-coffee vacuum. I’m sat at my desk, struggling with a conference paper. The phone rings and it’s one of my favourite lawyers. As ever he is very enthusiastic. He started by thanking me for my help and then got distracted by things he’d read at the weekend. The first was a story about a young talented writer who died recently. The second was a book that he had picked up randomly.

The Rise and Rise of the IWF

Internet Watch Foundation

The Internet Watch Foundation has been working to remove child abuse images from the internet since 1996. People worried about certain images can report them via the IWF hotline, so they can be investigated, removed and if appropriate, reported to the authorities for further criminal investigation. Over the past 6 months there have been a number of changes which have raised the profile of the IWF and I’ve been watching with interest.

Rulers and Rulers: Worlds of the Electors of Saxony

Something tasteful today

Today's objective was to find August, my Elector. It started out promising enough with the Royal Cabinet of Mathematical and Physical Instruments in the Zwinger Complex. Then the plan was to head over to the Royal Palace to see where he lived. I wanted to see some of Leonhard Danner instruments in the armoury.

My good Elector who could plan an itinerary to the nearest hour would have been disappointed in our finding abilities. Still, as I said, we were struck by the extraordinary mathematical, measuring, surveying, geographical and astronomy instruments. It wasn't just the technological sophistication of these things, it was the decoration of what would ordinarily be quite utilitarian. Swirls and cut-out patterns adorned set squares and protractors.

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.

Study: Why it Benefits You and Your Employer

It seems I’ve spent the last few years in one of three states; eagerly anticipating study, screaming because I was in the middle of study, or suffering post-study ennui. As I’m currently in between final course work and at the pre-research/planning stage for my 15000 word dissertation, this is a really good time to evaluate the impact that part time study has on my professional life.

It also doubles as an annoyingly motivational piece for January, given the tradition for resolutions and fresh starts. What more perfect resolution could there be than taking a course of study?

One of my library friends on Twitter asked how I was finding my course - what the workload with the day job/support/etc was like - because he was thinking of doing something similar. I was honest. If I’m being frank, my friends and family get neglected, annual leave is spent in the library, stress levels rise around coursework/assessment time and lecture evenings are reserved, no matter what. Sometimes day to day work is affected because of tiredness and, in my case, total distraction with a subject I love. All this sounds very negative and yet, I advised my friend to go for it as soon as possible. Why would anyone go to such lengths for study? 

Visions, Families and Torments: Carracci and Saints

Perhaps it's just me, or the pernicious influence of academia but sometimes the actual paintings can get lost in the amount of theory whirring around. To clarify my thoughts, I've started by going to the paintings and looking at them carefully to see what is in them. The paintings I'm talking about are the ones mentioned in my previous post. They were all painted around the same time, using the same materials and have been well known, even when thought lost, through the written descriptions of Giovan Pietro Bellori and Carlo Cesare Malvasia from the 1600s.

Bellori was aware of the limitations of pictorial description, as he says, 'the delight of painting resides in sight, which has little to do with hearing', and I would add reading to that observation. However, he offers a brief overview of these works on copper and we are able to identify the three works of interest from his remarks,