Take This, For It Is My Body: Phlebotomy Part II

Blood being drained from S.J. Norman’s wrist for Take This, For It Is My Body at Science Gallery’s Blood exhibition this weekend.

Take This, For It Is My Body: Phlebotomy Part II
Take This, For It Is My Body: Phlebotomy Part II

S.J Norman: Take This, For It Is My Body, at Blood, Science Gallery London

S.J Norman, Carly Sheppard, Naretha Williams. In London. This weekend.

In Take This, For It Is My Body, small groups of 6 audience members are invited to enjoy a traditional afternoon tea. They are seated and served a delightful spread of tea and fresh scones with jam and cream — a homely, nostalgic treat — which they can opt to consume or otherwise in the full knowledge that the scone batter includes a quantity of “aboriginal blood” (the artist’s own).

Take This, For It Is My Body

Performed by: Carly Sheppard, Naretha Williams and S.J Norman.
The artist wishes to the acknowledge that this work was conceived and developed on the lands of the Gadigal and Gundungurra peoples, whose sovereignty has never been ceded.

Saturday 28 October, 2pm–10pm (15 minutes each)
Sunday 29 October, 2pm–7pm (15 minutes each)
Safehouse 1, 139 Copeland Road, London SE15 3SN

Part of the Becoming Blood Weekender.

Booking Information:
Booking is free via our Eventbrite page here.

Please Note: This event is free to book but we ask attendees to make a voluntary donation of £5.00 to National Justice Project. You can do this via their website here.

S.J Norman — Take This, For It Is My Body
S.J Norman — Take This, For It Is My Body

Image

Take This, For It Is My Body: Phlebotomy

Vials of S.J. Norman’s blood for Take This, For It Is My Body at Science Gallery’s Blood exhibition this weekend.

Take This, For It Is My Body: Phlebotomy
Take This, For It Is My Body: Phlebotomy

Gallery

Gemäldegalerie — In neuem Licht: Hans Springinklee: Allegorie auf die Binde- und Lösegewalt des Papsttums

Either Gemäldegalerie rotate some of their collection (the smaller works it seems) or I magically have seen this work before on their walls. Or it’s from the room that’s currently holding Jean Fouquet’s Das Diptychon von Melun, ’cos one of my faves was definitely missing. Hans Springinklee, a student of Albrecht Dürer (notably worked on Durer’s Triumphal Arch, Ehrenpforte Maximilians I.), more known for woodcuts and illustrations, but occasionally he painted, and here’s his Allegorie auf die Binde- und Lösegewalt des Papsttums, (Allegory on the Binding and Loosening of the Papacy), a riot of saints and martyrs floating on clouds, waving palm fronds (Saint Christóforos is up the back; you could play Name that Saint all day), St. Peter offering the pope a chalice full of crowned black snakes, and St. Michael busy heaving a sword and weighing souls on his scales.

Gallery

Gemäldegalerie — In Neuem Licht: Two Die Anbetung der Könige

Two more Adoration of the Magi from Gemäldegalerie’s In Neuem Licht exhibition. The first, a copy after Hugo van der Goes’ Die Anbetung der Könige vor dem Stall im Hügel from around 1500 (or maybe more like a copy of Gerard David’s early-1500s copy of van der Goes’ now lost original, though this one’s narrower and missing a couple of figues on the left — either way, done around the same time). The second, the Meister der Crispinus-Legende’s Die Anbetung der Heiligen Drei Könige panel from the Straußfurter Marienaltar, from around 1520. Van der Goes did one of my favourite works in the Gemäldegalerie, Die Anbetung der Hirten, as well, the gallery has another of his, the Monforte altarpiece Der Anbetung der Könige. Meister der Crispinus-Legende I’ve never heard of, but does remind me of some pieces in Magyar Nemzeti Galéria in Budapest, I saw on my eastern Europe jaunt a couple of winters ago.

(These photos were taken when I’ve been not so inclined to spend days editing scores of images, nor to agonise over photographing under crap light — and the lighting in In Neuem Licht is on the crap end — so they’re both not really up to my usual standard, but on the off-chance I don’t go back to photograph these pieces properly, they seem to be the only easily findable images of these on the internet.)

Gallery

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.

Image

Gemäldegalerie: Jean Fouquet — Das Diptychon von Melun

I saw this. It’s mad brilliant. Like it should have the grimiest beat vibrating the walls and NoLay spitting for 500 years.

Gemäldegalerie: Jean Fouquet — Das Diptychon von Melun
Gemäldegalerie: Jean Fouquet — Das Diptychon von Melun

Image

Ottensheim from Landgasthof Rodlhof

I found this photo, cleaning out my camera before yet another trip to Gemäldegalerie: the Danube is behind the line of trees.

Landgasthof Rodlhof, Ottensheim
Landgasthof Rodlhof, Ottensheim