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Gemäldegalerie — In Neuem Licht: Hieronymus Bosch — Die Anbetung der Könige

An afternoon at the Gemäldegalerie with one of my favourite museum partners, Robert. We spent a lot of time in front of Jean Fouquet’s Das Diptychon von Melun — which I will photograph, ’cos I have to go back for In Neuem Licht. I don’t think I can imagine the extent of their stockrooms. They’ve got 70 works on display in the central atrium, all deep blue walls and the gentle murmur of the long fountain, and any of them could easily win a fight for a hanging spot on in permanent collection (where I’m pretty sure some of them occasionally reside).

I’m fighting my urge to photograph everything in a museum at the moment. I wasn’t going to point camera at anything, but then I saw a trio of northern European mediæval Die Anbetung der Könige, and … especially when one of them is a copy of the very famous Hieronymus Bosch one, which hangs in Museo del Prado. It’s like I’ve already seen it, I know it so well. So I’m going to try blogging individually some of the pieces I like, and I have to go back anyway, ’cos it was all kinda rushed with the camera. This one, then, is a copy of Bosch’s Adoration of the Magi or The Epiphany, from around 1550, on oak, Kat.-Nr. 1223. It’s been in the Staatliche Museen zu Berlin’s collection since it was acquired in 1837 from General Otto August Rühle von Lilienstern. I’d love to go to Madrid and see the original, it’s one of my favourites, along with Pieter Bruegel de Oude’s unfinished De Aanbiddung der Wijzen.

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Linz Hbf, Waiting for the 🚞 Part of 🚌🚞🚌✈️🚌🚋

S.J wrote and talked with us about aftercare for Rest Area. Kali Rose said the snake I ran over on my e-bike was a good omen, and she’s never going to let that go. I arrive in Vienna, cafés I’d aimed for are closed for lunch so I find myself in Café Jelinek, a bit off Mariahilfestr. neighbourhoods I’ve biked through before. A second breakfast, after our all-’80s singing one in Landgasthaus Rodlhof on 3 hours sleep, raked from the work and hungover, is a big mug of coffee, croissant and honey, bowl of fruit and yoghourt, 4 slices bread with cream cheese, chives, tomatoes, all for 9,50 €. On the plane, easyJet to Schönefeld, they offer me two seats, ’cos I’m mad tall. I fall over myself into it. 4 hours later, a half before midnight and the Danube churning in my lungs, I arrive home. Katrin has left dinner on the table for me. Aftercare all the way.

Linz Hauptbahnhof, Monday 25th September, 10:47
Linz Hauptbahnhof, Monday 25th September, 10:47

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The Vans of Spotter Festival on Ottensheim Ferry

From the break during Friday night’s première, No. 4 van is S.J Norman’s Rest Area.

Ottensheim & Danube Panorama

First evening in Ottensheim, we all jump on the Drahtseilbrücke Ottensheim, a cable ferry that pendulums across to Wilhering on the other side, about 160 metres away. Up the river to Kraftwerk Ottensheim-Wilhering, Schloss Ottensheim on the hill, the town of Ottensheim itself with Pfarrkirche hl. Ägidius above the ferry pier (play spot the building with Wikipedia) on the market square where Kali and I did Friday in with goat cheese, bread, Most, smoked fish, apples and pears, and the most excellent Donau.hof restaurant where we ended up most days, either for eating or for drinking (& cheers to the head waiter for mad good service), further right the pointy apex of old church cum organ pipe factory cum rest home cum apartments where we had impromptu afternoon tea with a woman who lives there because we liked her garden so she showed us around, past the hills of Dürnberg and down the river to Linz, 10 km or so around the corner, and all the banks of the river we wandered and biked daily, if only to get our heads and emotions in order for Rest Area.

Ottensheim and Donau panorama from Drahtseilbrücke Ottensheim on the Wilhering side
Ottensheim and Donau panorama from Drahtseilbrücke Ottensheim on the Wilhering side

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Ars Electronica

Wednesday in Linz. I had to pick up some requirements for S.J Norman’s Rest Area and pick up Kali Rose from the train station, all the way from Amsterdam to be the person in the bed in the van of Rest Area. I had an hour to kill, and had planned Sunday for mediæval art (did not happen), so went to Ars Electronica.

I’m rethinking my museum-ing, or at least for the moment not taking hundreds of photos, editing and blogging scores. These are simply things I liked and felt motivated enough to photograph. There’s so much in the museum, and much of it is temporal, interactive, and 3-dimensional; photography doesn’t serve these well.

I sent “Your unreadable text message to +43 664 1788374” for Stefan Tiefengraber’s your unerasable text. My phone autocorrected. It was pushed to the shredder then sat there, unshredded. The pink of the Biolab was so, so, very hot, florescent, candy, neon pink, rendered as something less than all those and fuchsia by my camera. Markus Reibe’s Protected Areas 2 is the closest thing to recognisable, non-interactive, 2-dimensional art I saw, on a wall documenting the history of what was digital / new media / computer art, and what I just call art these days. The atrium of Ars Electronica was bus yellow and grey cement. If I had time, I would have spent hours here with hundreds of photos.

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A Bus Stop near Linz

An attempt at the venacular of the photographic mundane: a prefab bus stop outside Linz on the way to Ottensheim, beside some of the saddest housing architecture I have yet seen.

Ottensheim–Linz Bus Stop
Ottensheim–Linz Bus Stop

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Drahtseilbrücke Ottensheim

The Ottensheim cable ferry, 10km upstream from Linz in Austria, where S.J Norman’s Rest Area was this last weekend, Kali Rose in the back of a van at night in Die Fabrikanten’s SPOTTER TRIP festival, and me, door bitch.

Drahtseilbrücke Ottensheim
Drahtseilbrücke Ottensheim