As I said to Vass, “I stood at the window watching the snow just pinging out cos complex 3-dimensional particle dynamics in a fluid dynamics medium are legit my jam.”
I thought the first flurry was going to be all we got. Very grateful for this one that coated the trees and grass for a few minutes.
This is the first snow of winter. And it’s already spring. I miss this weather so much, I’m going to blog it excessively.
I really wish I’d held off on my ride this morning for a couple of hours so I could have had the joy of being out in this.
Someone on ilxor in the Taking Sides: Penderecki or Ligeti? thread:
Messiaen = Prog ov the GodZoR
Ligeti = lame after he found fame (eg by the 80s)
Penderecki = mark-down Lutoslawski = Radiohead for strings
Ligeti and Penderecki hold a special place in my heart, prolly ’cos I’m an uncouth sod who don’t know music good — proper music, I mean, and I feel dead ignorant and embarrassed if I’m ever in a room with people talking up the category: 20th Century Composers Who Rate. Buuut … Ligeti, yeah, some of his stuff pinged me right, and same with Penderecki. I don’t have the education to appreciate, say, Messiaen, I mean, a lot of composers (or any other ‘canon’, theatre, art, opera, etc) don’t really open themselves up until you know a heap about what they’re saying, their context, the decades or centuries-long conversations (arguments) different composers and genres have with each other, so my first response to music is very emotional. Penderecki hit that. The strings in Threnody to the Victims of Hiroshima or the whistling in St Luke Passion (I’m naming obvious ones here ’cos like I said, going deep in Western Classical music has never been easy for me), these, the sound, the emotion, I want to be buried in that. (Radiohead though, gotta say, fuck that basic noise.)
North-west Europeans love silver birch, and German painters love it like no other. There’s this park of them along the Berliner Mauerweg, Südpark, a bit east of Dörferblick, where they’re planted so thickly it’s like a German Impressionist riot. I’ve seen at least one painting somewhere this committed to vertical white lines, not going to get carried away and try to find it.
Doing self-preservation riding again, and avoiding Tempelhofer Feld on the weekend. First, finally did the Weserstr. cobbles, which are dead tasty. Then, did the same ride as last week but in the opposite direction, and when I got to a bit after this photo, turned off to Großziethen, ’cos I thought I might find a way up that massive old rubbish hill from last week. Didn’t. Good ride anyway.
It’s been about 2 years since I last got my arse into a studio and did a ballet class. Good reasons for finding other physicalities to entertain myself since then, going deep in cyclocross and riding, enjoying cold and wet and windy work outside. But I missed ballet. I missed the good things of being in a studio doing the work, I missed being there with good teachers and brilliant pianists.
And this week, I’m back working with Isabelle Schad (remotely, of course), and needed something to get me going, something quick and snappy with a variety of intensities and velocities, something to put me in where I needed to be for the work. And I found Het National Ballet are live-streaming a ballet barre. And first day of doing it was wow have I come far from all that, like a memory of being a dancer but watching myself in the mirror (of course I did, it’s ballet training) I was laughing at how I have all these muscles that are very not from dance, and how much and how my body has changed in the last two years. On the third day though, I started to see it all again, physicality waking up and unburying, and yeah, enjoying it so much.
Ernst Meisner is such a cheerful teacher and Rex Lobo is a joy of a pianist. And doing it live, knowing they’re both in the studio as I’m here in my apartment, and there’s hundreds or thousands of other dancers whereever and we’re all doing it together, it’s truly beautiful and reminds me of how dance saved me over and over (and how dance is also a hard bitch, but, yeah, let’s just enjoy the good stuff for one day, eh), and how special dance is, how fundamental moving together is for life.
I was going to do some laps of Tempelhofer Feld today, but remembered last weekend when it was fucking packed. Berlin and all of Germany is facing an Ausgangssperre, a proper curfew and lockdown like Italy, and I didn’t and don’t want to add to the problem by being another person at the old airport, irrespective of how much ‘social distancing’ I’m doing, and I don’t want to be counted among those wankers who’ve never learned responsibility and obligation to community.
So I buggered off south down Hermannstraße, hung a left at the border with Brandenburg and practiced self-preservation along the Berliner Mauerweg. People were out, but mostly in ones and twos, or families, plenty of solo cyclists also. Let’s be clear, quarantine at home is going to kill people and ruin the lives of a whole heap more, people who never come into contact with the virus. “Quarantine without testing is a project of social control that transfers responsibility for sickness from states to individuals” which the governments (city, state, federal, EU) have done such a fucking remarkable job of in their deliberate abnegation of responsibility. This is what happens when crisis necro-capitalism meets a real fucking crisis, one that can’t be bailed out or austerity-ed away or debated or ‘both sides’ or any other bullshit jizzed in our faces by the utterly, utterly ineffectual governments and political parties of all the countries hooked on ‘economic growth’ at the expense of actual, real, long-term caring for community. And by ‘community’ I mean everything, trees, land, birds, the sad canal running through Wedding that I love, and not just people, like we’re magically isolated and atomised from what we are inextricably a part of.
The ride curved north and into a dead tasty headwind, pushing me into one of those trances where I get all aero, breathing endlessly and hard and staying in and with that suffering, burdening myself, remembering Annemiek van Vleuten doing her 100 kilometre solo to win the road world championships, Kasia Niewiadoma, Marianne Vos. It’s good to have women whose level of finding joy in suffering is so far beyond mine. It’s so different from cyclocross, those short gut-churning efforts, the exhausting concentration of technical riding at speed and physically maxed out. This is just sticking at it, over and over, getting comfortable in it until it’s over. Riding until I abrade away some of the anger and fear and sadness.
This photo would have been slightly different but my iPhone battery decided to die. Anyway, it’s just south of Freizeitpark Am Vogelwäldchen, which itself is just south of Gropiusstadt, and looking west at the old Mülldeponie Großziethen. That’s not a hill, that’s a rubbish dump!
Michael! What am I looking at!?!?! 😂😍
Thank you, dear.
Wait for the final edits. So many other photos we are going through.
Expressing the shit of this time.
reminds me a bit of this photographer from the 80s / 90s who did black and white stagings
trying to remember his name
My friend in the photos took his inspiration from him but I cannot recall his name.
Such powerful works he did.
Crazy dark stuff with people with disabilities, corpses, etc.
Decapitated corpse heads kissing. This guy.
i wish you could see how stunned with the beauty of these i am.
I met Michael Garza in Guangzhou eighteen years ago. He’s still there, still principal bassoon with the orchestra, also with a woodwind quintet, Pan Pacific Ensemble, we see each other every couple of years when he blows (ha ha) through Europe, and he’s my strongest connection to a city I have a deep love for, as well as being one of my dearest friends.
He sent me these photos a few days ago and like I said, I was stunned. Chinese puppet theatre, butoh, Día de Muertos, deep queerness, heavy memories of AIDS in the ’80s, SARS (which we were both in Guangzhou for, the smell of burning vinegar in the damp winter air, and that train ride with Yunna back from Wuhan in the night, getting messages telling us to stay away from the city because there was a plague). Photos by Gustavo Thomas so ya know.
Michael’s orchestra closed a couple of months ago, long before the rest of the world got over their racist fuckery and thought about taking this shit seriously. (Very aside here, I think the disaster underway in Europe and America is substantially because of the nationalist and white supremacist ideology stretching back to the Renaissance – or late-19th century imperialism and colonialism if that’s too long a time for you to grasp.) Every single artist I know or know of woke up some time in the last weeks and found themselves unemployed, all their upcoming work cancelled, and no idea when they might return. The better-off ones have – for the moment – family and friends to rely on, but there’s a lot, a very large lot who were already doing it hard. Not all of them artists either. I already see this for myself, trans, immigrant, neurodiverse (fuck I hate that word), multiethnic, queer, not in a relationship, there’s a marked difference already. I fully expect, like every other time in European history when shit got bad, people like us are going to be the first to get fucked. Art like this, then, arriving across continents and hemispheres in a messaging app convo, feels good, feels necessary, feels like we’re forcing our way into being remembered, holding on to beauty and love when we’re being told, again, to give it up.