Maybe it looked less “cheapness as Communist authenticity” in 1961.
It’s like Office of Interchange in Counterpart.
For nights when running a police state kept Erich Mielke from home in Waldsiedlung Wandlitz, a bathroom with bath and separate shower.
It’s like a medieval stained-glass window, except Mary and Jesus are a Red Army soldier liberating Germany from National Socialism, and Jesus on the cross is the Stasi emblem and gun.
Last night, buoyed with a tub of vanilla ice cream and post-ride fuzzies, I finally got around to watching the last, movie-length episode of the gloriously weird Sense8. Yes, I cried.
I stuck around for the credits, and post all of that deep emotion, saw the logo for Venus Castina Productions, the company of Lana Wachowski and her wife, Karin Winslow, and thought, “I know that arse. I’d recognise that arse anywhere. I saw that arse in the Louvre.” I didn’t photograph her from that side though, but she was on my ticket when I visited, and I spent a long time with her, five hours into my nine-hours of getting done by the Louvre. Hermaphrodite endormi, 2nd century Rome with the bedding done in the 17th century when the fashion was to go all Baroque on Classic sculpture.
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.
Giving St. George Hare’s The Victory of Faith (Miserere Domini!) its own special post ’cos it’s lezzie as fuck. Funny how 120 years can turn a piece of racist Orientalism into something ripe with intersectional feminist power. “Yeah, dunno about that, Frances, reckon it’s just 19th century white man porn.”
A few more pieces of art from Naarm / Melbourne’s NGV National Gallery of Victoria, which I saw on my very wrecked, post-season, post-bumpout afternoon at the end of March. I wasn’t photographing much by this point, mainly grabbing a few I thought Medieval POC would get a kick out of, and very much not trying to document the museum itself. Bits and pieces. And Anguish. I thought of Onyx when I saw that. “Why? Because I’m raked over and bleeding out?” “Nah, ’cos you’re a murder of black crows about to feast on some dainty white lamb flesh.” Or something like that. We’re supposed to identify with the sheep. Fuck that.
A few pieces of European mediæval art I saw on my very wrecked, post-season, post-bumpout afternoon in the NGV National Gallery of Victoria. Considering how long I lived in Naarm / Melbourne, and considering I spent five years across the road at Victorian College of the Arts, I’m pretty sure I went inside a total of maybe once, and that for a special exhibition which I can’t remember — the permanent collection and the building itself I never wandered through. Mainly ’cos I wasn’t into museums then.
So, mediæval European stuff, ’cos I am into it. Weird to go to Australia to see bits and pieces of back home. I was looking for Saint Mauritius (of course), because somehow I got it in my head they have a rather nice painting of him. Didn’t find it. Might not be on display. Didn’t find it on their website either, but that’s a horror to search so … Did find exactly one Biblical Magi / Heilige Drei Könige / Aanbidding der Wijzen (it’s from Antwerpen, let’s go with that last one), very buried in the bottom right corner of a retable, which I shone my phone light on to get some illumination to photograph (then butchered it in Photoshop — is not my best work).
The first room, with the wooden sculptures reminded me of Muzeum Narodowe we Wrocławiu (still one of the best mediæval collections and museums I’ve seen), but the dissonance of German next to Spanish next to Italian next to Flemish made for an odd journey. A small collection, lack of space, prioritising newer art and temporary exhibitions can justify the jumble somewhat, yet it proposes a strange, fantastical idea of the history of Europe, a Europe that is monolithic, singular, consistent. Yeah, I’m spoilt here. I can go to small cities like Magdeburg and see a thousand years of history from just that region of central, northern, Germanic Europe all in the original church, and the depth and detail imparted shapes a massively different reality for Europe’s history.
But still, they have a Hans Memling, some Dürer etchings, and a pile of other works that are pretty solid examples of what was going on in Western Europe in the 14th and 15th centuries. The German pieces are solid and heavy and dark; the French all flowing in International Gothic style; the Italian ramping up for the Renaissance. Most of the pieces aren’t brilliant, though pretty much all are solid pieces by renowned artists, and nothing is of the poor, regional copies that litter museums over here. And occasionally there’s a work I’m frankly surprised got out of Europe, which speaks of the kind of money backing the NGV.
Favourite piece? Jaume Cascalls’ St Catherine, from around 1350 in Spain. Not just because she’s my favourite saint, patron of unmarried girls, spinsters, archivists, jurists, librarians, mechanics, scholars, and fucking knife sharpeners.