There was a big Hokusai show in Berlin at (I think) Martin Gropius Bau a couple of years ago, I went to see with Dasniya. No Shunga. No pervy octopus tentacle porn. Not even a mention. But in Marbella, in the small but very nice MGEC Museo del Grabado Español Contemporáneo, in the very unexpected exhibition, Estampa japonesa — Imágenes del mundo flotante, amidst three rooms of Japanese Edo and Meiji era prints, a whole wall of Shunga. And this one, from Katsukawa Shunchō’s: series, Imayō irokumi no ito. One of my absolute favourites, just hanging on the wall in a small museum in Marbella.
On the afternoon of my hectic 36-hour round-trip to Marbella / Puerto Banùs, I had a couple of free hours in the afternoon. I could have slept, but I figured I’d be all perky at 10pm and needed some distractions. Museums, then. Yes, Marbella has one: MGEC Museo del Grabado Español Contemporáneo, in the old town, down an alley on the north-east corner of the big church (very tourist; much eye-watering Catholic art), in a former late-Renaissance hospital.
I hadn’t looked at the museum’s website properly, mainly because I was rather thrilled to have found any suitable distraction for the afternoon, and had no idea what to expect. Straight into Picasso and Miró. Straight out and up the stairs into 3 rooms of Japanese Edo and Meiji era prints. I really wasn’t expecting that. And I really, really wasn’t expecting to see Shunga in an exhibition like this. Saving on of those for its own post. That good. So here, without much elaboration, pretty much every piece in Estampa japonesa — Imágenes del mundo flotante. As usual, besides straightening, cropping, and a bit of colour-balancing, this is pretty much what my now rather old Panasonic LX7 saw. The lighting was awkward (the usual direct light glare on glass type nonsense), I am very out of practice in visiting museums and photographing art, they’re all on the underexposed side and tinted a bit blue … excuses. Fuck it. I’m not much for omens, but stumbling into this after the whole reason I was in Marbella in the first place was Pretty Bloody Significant, if you know what I mean.
This turned out to be slightly more involved than anticipated. I should have known: Iain Banks is always in the details. Until starting this — and I’m still reading The Crow Road, for the maybe 3rd time — I hadn’t realised how fundamentally cars and vehicles form characters in his novels, much as landscape does, and if the landscape is up the Scottish end of town, the cars are solidly British, with rare excursions to various four-wheeled hoonage from across Europe.
I haven’t really decided how to do this, making it up as I go along, I thought to include the sentence where the car was named enough to make an educated guess at, which sometimes turned into multiple lines. Published in 1992, The Crow Road is set late–’89 to late–’90, at its most current period, with narratives in a number of periods back to just post–war. I’ve tried to match cars to the periods they were mentioned in, so no car is newer than end–’80s, and ‘old’ is 15–20 years minimum, relative to the scene’s time period. I discovered just how specific Banks was in choosing the ensemble of cars (2/3 of the way through and at least 27) when I was looking for an image of a Metro — Austin, MG, Rover, it got passed around — and found there was a period when it had no marque, it was just Metro. That’s the one he was talking about. And the Peugeot 209 isn’t, so either that’s an error, or this is Banks subtly trolling his Scottish alternate / coexisting realities again, like in Whit or The Business. In this reality, probably a 205.
That’s enough. Here are the cars of Iain Banks’ The Crow Road.
Instead I’d sold Fraud Siesta, my Car.
‘The car; it’s a Lagona Rapide Saloon’
‘Yes,’ I said, smiling a little ruefully to myself. ‘Yes, I know’
The car came screaming up the crematorium drive, leaves swirling into the air behind. It was a green Rover, and had to be doing sixty.
Everybody in the crowd outside the crematorium was watching the green 216 as it skidded to a stop, avoiding a head-on collision with the Urvill’s Bentley Eight by only a few centimetres.
The big Super Snipe growled into the car park, heeling as it turned and stopping with the passenger’s door opposite Kennith.
‘Anyway, couldn’t we take the Rover?’ Kenneth wasn’t keen on the Morgan; its stiff ride hurt his back and gave him a headache, and Fergus drove too fast in the ancient open-top. Maybe it was the sight of all that British Racing Green paint and the leather strap across the bonnet. The Rover, 3.5 though it was, seemed to calm Fergus a little.
The upholstery of Fergus’s Rover was cleansed of the debris and stains associated with Verity’s birth and the car continued to serve the Urvill family for another five years or so until 1975, when it was traded in (for what Prentice thereafter would maintain was a scandalously small sum, considering that the thing ought to have been preserved as some sort of internationally-recognised shrine to Beauty) for an Aston Martin DB6.
“We got into the Fiesta; she dumped the brolly in the back.”
I kind of wished I’d sat behind Verity; I wouldn’t have seen so much of her – not even a hint of that slim, smooth face, frowning in concentration as she barrelled the big black Beemer towards the next corner – but I wouldn’t have been able to see the speedometer either.
Verity wiggled her bottom, plonked it back down, calmly braked and shifted up to fifth, dawdling along behind the green Parceline truck while she waited for it to overtake an Esso tanker.
Her battered, motley-panelled 2CV had looked out of place in Ascot Square, where I think that anything less than a two-year old Golf GTi, Peugeot 209 or Renault 5 was considered to be only just above banger status, even as a third car, let alone a second.
‘I play games’, she told me.
‘Yeah,’ she nodded, licking her lips, ‘Like Name That Tail-Light.’
‘What?’ I laughed
‘True,’ she said. ‘See that car up ahead?’
I looked at the two red lights. ‘Yeah.’
‘See how high up the lights are, not too far apart?’
‘Mm-hmm. One it’s overtaking?’
‘Horizontally divided lights; that’s an old Cortina, mark 3.’
‘Here’s a Beemer. New five series … I think, about to pass us; should have lights that slant in slightly at the bottom. ’
Verity Walker, clad in a short black dress, was dancing sinuously on the roof of Uncle Fergus’ Range Rover.
‘Ha!’ Prentice said, as the battered Cortina II drew to a stop just past them.
He helped Fergus drag the small corpse down the slope to the track, where the Land Rover was parked, and accepted a lift back to the road.
An hour or so later I saw my mother’s green Metro, just about to turn out of the drive-way of Hamish and Tone’s house.
‘Na,’ he said. The Volvo estate accelerated down the straight through the forest towards Port Ann. ‘Though maggoty meat and people with one eye did come into it at one point.’
Fiona brought the Rover to a halt behind a beaten-up Mini, standing on the gravel in front of the castle’s main entrance.
‘Isn’t that Fergus?’ he said, nodding.
‘Racing green Jag, heading north.’
‘Is that what Ferg’s driving these days?’ Rory said, rising up in his seat a little to watch the car pass.
I’ve always had this fantasy, that, after uncle Rory borrowed his flat-mate Andy’s motorbike and headed off into the sunset, he crashed somewhere, maybe coming down to Gallanach; came off the road and fell down some gully nobody’s looked into for the last ten years, or – rather more likely, I suppose – crashed into the water, and there’s a Suzuki 185 GT lying just under the waves of Lock Lomond, or Loch Long, or Loch Fyne, its rider somehow entangled in it, reduced by now to a skeleton in borrowed leathers, somewhere underwater, perhaps between here and Glasgow; and we all pass it every time we make the journey, maybe only a few tens of metres away from him, and very probably will never know.
One of my pals — graduated, employed, moving on to better things — sold me his old VW Golf, and I drove down to Lochgair most weekends, usually on a Thursday night as I didn’t have any classes on a Friday.
We took Lewis and Verity’s new soft-top XR3i — roof down, heater up full — out into the grey-pink dawn and drove through Lochgilphead and then into Gallanach and just cruised about the town, waving at the people still walking about the place and shouting Happy New Year! one and all.
I parked the Golf behind a Bristol Brigand which sat half on the gravel and half on the grass.
Isabelle Schad, in the first space I’ve seen her in, whose architecture really deserves her work (outside of Wiesenburg, of course), at KINDL in Neukölln for INSIDE OUT. I saw first rehearsals on Thursday last week, almost 3 hours of being transfixed. Still the best in town.
- Thursday, 16.08.2018, 18:00 – 21:00, world première
- 17.08.2018, 18:00 – 21:00
- 18.08.2018, 15:00 – 18:00
- 19.08.2018, 15:00 – 18:00
Admission possible at any time
In her performative exhibition INSIDE OUT Isabelle Schad shows choreographic sculptures that are experienced in their powerfully sensuous moving forms. Her work situates itself between dance and visual art, draws on her ongoing fascination with Aikido-Zen, community building and her long-term collaboration with Laurent Goldring, whom she invited to participate in INSIDE OUT. With subtle exactness they form bodies, material such as clothing, lengths of fabric and movement into sculptures which define their own space and evolve a contemplative quality.
- Concept & Choreography: Isabelle Schad | With the participation of Laurent Goldring
- Artistic Assistance: Claudia Tomasi
- By and with Jozefien Beckers, Barbara Berti, Frederike Doffin, Naïma Ferré, Josephine Findeisen, Przemek Kaminski, Mathis Kleinschnittger, Manuel Lindner, Adi Shildan, Claudia Tomasi, Nir Vidan, Natalia Wilk
- Lighting & Technic: Bruno Pocheron, Emese Csornai, Emma Juliard
- Sound: Damir Šimunovic
- Costume Consultancy: Charlotte Pistorius, Lydia Sonderegger
- Production Management: Heiko Schramm
- Production: Isabelle Schad
- Co-Production: Tanz im August / HAU Hebbel am Ufer Berlin
Funded by: Senatsverwaltung für Kultur und Europa. Supported by: Wiesen55 e.V., with kind support of the Croatian Ministry for Culture and defacto Zagreb, Institut français, Polish Institute Berlin, Embassy of Israel in Berlin
In cooperation with KINDL – Zentrum für zeitgenössische Kunst
Seen repeatedly on my Straße in Kreuzberg. Gold Brembos boxed in by all that big German Whip. And Volvos. V70s over there. “Who told you I move like pauper?”
Keeping things orderly here. Last week of my Naarm / Melbourne trip, Monday 26th March, I got myself along to NGV National Gallery of Victoria for the 2018 Triennial and weird European art.
- NGV Triennial: Richard Mosse — Incoming
- National Gallery of Victoria: J. M. W. Turner — Falls of Schaffhausen (Val d’Aosta)
- NGV Triennial 2018 & 21st Century Collection
- NGV National Gallery of Victoria — Mediæval Art
- NGV National Gallery of Victoria — Baroque & Rococo Art
- NGV National Gallery of Victoria — 19th & 20th Century Art
- NGV National Gallery of Victoria — St. George Hare: The Victory of Faith
- NGV National Gallery of Victoria — Jizō Bosatsu
I didn’t know where else to put this. It’s far more beautiful standing before it than in my photo. I didn’t photograph much of the NGV’s Asian (or, Not European) collections, and if I’m going to give a whole post to their mediæval art, then this Jizō Bosatsu Bodhisattva from the Kamakura period, 1185–1333 in Japan is contemporary to that.
Mixing the NGV’s Triennial and its own collection together as I was decidedly zombie on the day (Paea saw me and laughed), and sometimes not sure where one or the other began or stopped, and saving all the old cruft for a separate post.
Richard Mosse I confused with Trevor Paglen, whose Limit Telephotography and The Black Sites work has been turning up in my reading for over a decade. Mosse is kind of a successor, or working similarly, pushing photographic technology and making deeply political art. Louisa Bufardeci also, though using manual labour to again create something on first view beautiful and aesthetic, which is contextualised into a evidence of and memorial for refugees whose boats sunk at sea off the coast of Australia. Both these works sit uneasily inside Fortress Australia and within the NGV, as Mosse’s second work (which you have to pass through to reach Incoming) describes: the NGV’s former use of Wilson’s security, to whom the government outsourced illegal detention centre policing. (The NGV ended its contract with Wilson’s after artists’ protests, organised by Gabrielle de Vietri and others, though the relationship between arts institutions like the NGV, policing and generations of human rights violations remains largely untouched.)
Onto something slightly more cheerful, or at least I could not wipe the smile off my face watching Adel Abidin’s Cover Up! where Marilyn Monroe’s iconic subway scene in The Seven Year Itch is replaced by an Arab man wearing a Kandura (Dishdasha, Thawb) giving me the cheekiest eye as he tries (not very hard) to prevent a flash of leg.
Next to that is Faig Ahmed, with a 21st century Azerbaijani carpet, digitally bleeding and glitching. Hal reminds me of the Afghan War Rugs, cultural memory lossy compression like a jpg, copied and recopied with no line of context to an original, regional signifiers and techniques that say authentic and traditional unfolded as repeating geometric shapes of aircraft carriers, World Trade Centre towers, text like USA and Pepsi, blocks of iconography decoupled from meaning, becoming pattern again.
Timo Nasseri, Epistrophy, op-art cut into the wall like the mid-20th century works of Adolf Luther I saw in Von der Heydt-Museum, Wuppertal. Possibly a new profile photo coming out of that, but not thinking much of it until I looked at more of his work and saw the thread of Islamic / Islamicate architecture and mathematics in it. Good choice for a profile photo, then.
Jumping to the last artist, Nusra Latif Qureshi. She used to come into the VCA Student Union when we were both students. I always loved her art, miniatures in the South Asian tradition (which has connections to mediæval European illuminations, art flowing along the lines of trade as much as trade and commerce), and I was really happy to see her work in the NGV. Again, political, the colonial history of Europe in the unbroken history of Asia-Pacific.
I had thoughts, weaving through the Triennial and the NGV’s permanent collection in my spent, post-festival state. Thoughts. Many. I had. Like, the art that can touch me is always political, because art is inseparable from political, unless the artist has the luxury to be insulated from having political’s gaze turn onto them, so they get to play with ideas and technology and pretend there are no consequences, no urgency, no struggle; they get to live without the violence of history. I see myself in art that is political, even though it is seldom specifically ‘about’ me. I see also a difference between the superficially political, diversity as aesthetic, and art by artists whose lives, by their very existence, is political. I saw the strength of the NGV when it celebrates, represents, amplifies Asia-Pacific and Indigenous artists. This is when it makes sense, not when it assembles an incoherent, contextless junk box of ‘European’ art, manufacturing a phantasmic history of Australia, like Australia was ever located just off the coast of England, or when it divides that into Art and anything pre-Invasion Asia-Pacific into Ethnography. I didn’t see the entirety of the Triennial or the NGV, it’s an awkwardly designed interior space, easy to miss cul-de-sac turn-offs that open to entire wings, more time walking to and from and between than through art. It struggles between competing imperatives, like that of its European fantasy, or oddly misplaced exhibitions that owe more to consular trade and advertising than art and artists. But, see the Triennial? Yes, if you’re in Naarm. There’s good stuff there (heaps I didn’t see, let alone photograph).
Dear friends and colleagues,
We would like to invite you to the reprise of the pieces Fugen and Solo for Lea by Isabelle Schad.
Both pieces are part of a series of works that Isabelle Schad subtitles as portraits and will be shown as Double Bill on the same weekend in HAU Hebbel am Ufer and Sophiensaele Berlin.
We would be very happy to see you here or there.
Thursday, 05.04.2018, 19:00
Friday, 06.04.2018, 19:00
HAU Hebbel am Ufer, Berlin (HAU3)
Solo for Lea
Saturday, 07.04.2018, 19:30
Sunday, 08.04.2018, 19:30
Fugen “… is a complex work that challenges both the choreographer Isabelle Schad and her audience in previously unseen ways. And thus creates opportunities to go beyond borders.” (Katharina Schmidt)
With Fugen, Berlin choreographer and dancer Isabelle Schad continues her work between musical concepts and their expression in movement. Coming from a music background and a lifelong interest in the polyphonic work of J.S. Bach, she attempts to look at her own (hi)story and the origins of (her) movement between discipline and pleasure. Fugen is an autobiographical work in which the performer’s body serves as an example for the construction of the individual within disciplines and systems one cannot escape from.
Solo for Lea, “A study in minimalism, a physical portrait and a sculpture in motion … a sublime draft.” (Elena Philipp)
Solo for Lea is a meeting between Isabelle Schad and Lea Moro. The work attempts to draw a very personal portrait of Lea Moro, dealing with the specificities of her body, its rhythms, its contours, colours and energies, playing with form-aspects of cubism and Picasso’s drawings in one dash. Together Schad and Moro engage in constellations of forming and disfiguring, in which the body itself becomes the stage: the space, place and matter that is the subject of observation.