Gone to the bar to talk about art*

Monday 3 September 2007

September’s here, so all the art galleries around London are reopening after their summer break. This means one thing:

Large buckets filled with beer bottles, down every side street in the east end of London. If you’re not getting them for free you’re honestly not trying. There’s also new art, but you’re usually better off ignoring it. In London, anyway.
Most of it to be found in Vyner Street in Hackney, a short back alley near the canal with allegedly a dozen or so art spaces (no one person has ever found them all) tucked away amidst the warehouses and sweatshops doomed by imminent gentrification.
Early in the year some earnest soul had chalked on the outside of one of the galleries “Wake up Vyner Street! The world needs you!” An endearingly romantic sentiment, if obviously only half right.

* Actual note once left on a message board in the sculpture department of RMIT. Don’t worry, by second semester midterm break the system has ironed out these personal little kinks.

Australia as a Picturesque Ruin

Saturday 18 August 2007

…the Dawn and Dusk Society lobbied to set up a committee for the erection of fake ancient ruins around Australia.

The above note is just a passing comment in an article on another subject, found in a 1960s issue of Meanjin. I wrote this down several years ago, while I still had the issue ready at hand, but didn’t note the author, article, or issue number, and the journal is now in storage at the other end of the world. This is the first mention on the web of the mysterious Dawn and Dusk Society, at least as far as Google is concerned.

The Society is mentioned in such a casual way that it appears to have once been assumed familiar enough to readers to need no explication. Did it have much in common with other forgotten booster movements like the Wattle Day League or the Who’s For Australia Campaign? Was it more of a club like the Royal Antediluvian Order of Buffalo? An Antipodean outpost of eccentricity like the latter-day Baker Street Irregulars? Or is it possibly a fictional entity from a popular story of the day?
As it was described, the Society’s motive was to inspire a sense of history heretofore lacking in Australians. As I recall, the reference to the Society was made in a gently mocking tone, for its misguided nature and unconscious ironies, but even at this point in time its forlorn wish would have seemed, on the surface at least, fairly straightforward in a way that is impossible now.
(Before dealing with the historical and cultural consequences of such a project, a more immediate cognitive problem springs to mind: without a historical context to set it against, how could you tell an honest fake was meant to be seen as a ruin, and not as a folly, a false fake?)
Even ignoring Australia’s long neglected indigenous history, the idea of concocting an ersatz heritage is one fraught with contradictions for all but the least reconstructed White Australians. The “sense of history” created would of course be a denial of history, of Australia’s colonial past. But if this true history were successfully erased and overwritten with the shiny new ancient fictional extended remix, what new mythology would we have of ourselves? I can’t imagine that modern Australians would be more confident and assured of their place in the world, having grown up surrounded by symbols of a glorious past now irretrievably decayed. We have had a hard enough time adjusting to the starkness of the Australian landscape as it is, without it being additionally littered with evidence of our failures.
We don’t have to ask if the heritage the Society had in mind was British – in one aspect, the plan is but one more transplanted artifact from the Old Country – but how far back would the grand project extend? Would we find a Roman bath in Balranald? A Viking ship part-buried in Vaucluse? I like the idea of a large network of pseudo-academies springing up across the country, like those of the Creationists, dedicated to reconciling these fantastic absurdities to the real world.
As successive waves of immigrants have found their place in Australia, would they get to make their own contributions in turn to the collection of fake national relics? If the plan had succeeded, we could now enjoy shattered Doric columns beside fallen pagodas, and vine-covered colonnades topped with minarets. As a nation still reluctant to admit to one invasion, Australia would now happily affirm a multitude of colonial incursions in its past, even though most of them were fictional.
Perhaps it is time for the Society’s design to be revived, albeit in a more subtle and insidious form. Throughout recorded history, societies have expressed a belief in a golden age before their own, from which their contemporaries have descended and declined. The historical reminders we erect should manifest our faith in the values of better times preceding ours. Monuments to whistling milkmen, statues of doctors making house calls, and shrines to schoolkids who walked sixteen miles to school each day, immortalised in bronze in a pose of deference to an elder. An obelisk to those who left their homes unlocked. A plaque to a policeman older than you.
Amid these reminders we could go about our business confident that times are bad and will get worse, but once there was a better life which we have abandoned. And beneath these thoughts still lies the double truth we carry in our heads, of what we would like to believe our country to be, and what we know it really is.

I am the passenger

Thursday 9 August 2007



A long – probably one-sided – conversation about the merits of tubular steel-framed furniture.

Wednesday 11 July 2007

Now I know how the Fonz feels, because I got me a library card; specifically, a reader’s pass to the British Library. I wanted to find out more about John Cage and Ernő Goldfinger, but couldn’t find a copy of Nigel Warburton’s biography of Goldfinger anywhere else.
Warburton takes time to mention Cage’s brief association with the architect, but has nothing more to add than what Cage has already written about the experience, other than the intriguing detail that Goldfinger made his remark about the need for an architects to devote their lives solely to architecture while “preaching to some girlfriends”.
There’s nothing about why Cage’s former professor chose Goldfinger as the man to mentor Cage, but it can be inferred from the rest of the chapter. Goldfinger had quickly established a reputation as something of an enfant terrible since arriving in Paris, making a lot of noise and getting himself introduced to the best and brightest in town. Except for Picasso: Goldfinger refused to meet an artist he suspected would not treat him as an equal.
In fact, the younger Goldfinger could easily be a character out of a Wyndham Lewis novel, judging from Warburton’s book. As well as the harem kept in his offices, “Ernő’s wild spirits even resulted in a challenge to a duel. The source of the insult was his shimmying at a nightclub.” The duel (with sabres) was averted after both parties had their lawyers prepare and exchange “elaborate official apologies”. On another occasion he had “gone on the rampage after one Bal des Quat’z Arts, where there was open hostility between the ateliers, storming off into the night intent on beating up homosexuals.” Just as well Cage didn’t stay around for long.

Filler by Proxy L: Special Commemorative Edition ($250 unframed, $350 framed)

Monday 30 April 2007

First, a piece of self-generated filler: I was testing for dead links and discovered that Haiku Review has finally published the Richard Tipping review they asked me for about three years ago, and which I submitted to them about two years ago:
Les techniques sont semblables à ceux employées par des «pirates de l’air de médias» et autre activistes, qui ont puisqu’alternativement coopté et reassimilated par industrie de publicité. Quant à la bureaucratie, travaux tels que retentir le silence être maladroit dans leur monumentality et leur contenu didactique, définissant un message édifiant que n’importe quel bureaucrate ou conseil à l’âme noble pourrait approuver.

It’s also available in Dutch, Korean, Portugese, and English, among other languages.

All Kinds of Stuff
John Kricfalusi regularly updates his blog with lots of strongly held opinions about cartoons: in particular, the aspects of art, design, writing and acting that go into them, and the way that corporate economics can screw them up. His last posts have been observing the decline of cereal box artwork, and the difference between acting and dialogue performed by a real person, and performed by a cartoon:

I had just read the script for “Disco Droopy” and someone tipped me off on where the scriptwriter was hiding out…. I chased him down and began to deliver God’s justice upon him… reality sunk in slowly; it produced a last rebellious and futile spasmic outcry. This is what artists face every day of their lives in the terrible icy world of animation scripts.

The real surprise in this post is his brief reference at the end to the extensive restoration work recently done on Ren and Stimpy, salvaging scenes from an old VHS tape. They had to restore Ren and Stimpy. What has the world come to?

Music Stuff

Composer Daniel Wolf has been posting frequently on Renewable Music about the ways that music seeps into other parts of life, including a recent series on Music Landmarks (see the sidebar), a bit like The Rambler’s Music Since 1960 series.
Finally, WFMU has video of John Cage performing his Water Walk, complete with bathtub, pressure cooker, blender and watering can (but not working radios) on the American TV game show I’ve Got A Secret, in 1960. The previous year, Cage had performed his music on the Italian quiz show Lascia o Raddoppia, where as a contestant he won enough money to buy a minivan for Merce Cunningham’s dance company. Has any composer beaten Cage’s record for TV game show appearances?
In case you hadn’t guessed from the description, the video is a great bit of fun.

Sol LeWitt died on Sunday

Monday 9 April 2007

I learned about Sol LeWitt’s art at about the same time I first heard Philip Glass‘ music, which was appropriate given that the two worked together on several occasions in the 1970s (the photo above is from his cover design for Glass’ LP Music in 12 Parts, Parts 1 & 2).
The New York Times has an obituary (use Bugmenot if you’re asked to register) which attempts to explain the appeal of his drawings which were conceived as simple sets of instructions for someone else to execute:
Sometimes these plans derived from a logical system, like a game; sometimes they defied logic so that the results could not be foreseen, with instructions intentionally vague to allow for interpretation. Characteristically, he would then credit assistants or others with the results…. he always gave his team wiggle room, believing that the input of others — their joy, boredom, frustration or whatever — remained part of the art.

This doesn’t really capture the real impression these drawings first made on me: the realisation that a work of visual art could be made, and appreciated, in the same way as a piece of music. The plans simultaneously governed the form and determined the detail of the finished drawing, and the finished interpretation could be enjoyed for the individual nuances contained within the realisation of an abstract concept. (This also means I don’t care how joyous or bored those assistants were.)

Crown Point Press has a selection of LeWitt’s prints reproduced online. You can read LeWitt’s Sentences on Conceptual Art or, if you prefer, have John Baldessari sing them for you.

Tourists at the Gates of Hell!

Saturday 31 March 2007

Tourists at the Gates of Hell!

Tourists at the Gates of Hell!

And what evil lurks behind the Gates of Hell?

A bloke eating crisps.

Truly, this man was the Jesus of Cool.

Wednesday 21 February 2007

There haven’t been enough pictures here lately, so here’s one I nicked from Straight from the Tated&nbsp.

Contextualising the contemporary artist within capitalist society: a case study

Tuesday 5 December 2006

(Fournier Street, Spitalfields. Evening. A TOUR GUIDE is leading a small CROWD on a Jack the Ripper tour. He stops to point out the sights.)

TOUR GUIDE
Here we see Christ Church, the masterpiece of Nicholas Hawksmoor, known as “the Devil’s Architect”. People have spent decades trying to decipher the occult symbolism behind its mysterious design.

CROWD
Aaah!

TOUR GUIDE
Opposite, we stand before the infamous Ten Bells pub, where the Ripper would select his unfortunate victims from among the ladies of the night.

CROWD
Oooh!

(Concluding his lurid peroration, the CROWD continues its walk up the street a little further, when the TOUR GUIDE stops again to call attention to another place of similarly sordid interest to the tour. He gestures at a doorway in a modest row of brick houses in the shadow of the church.)

TOUR GUIDE
And this house is the residence of the notorious modern British artist Tracey Emin, who paid one million pounds for the house several years ago.

CROWD
Whoah!

(On one of the upper storey windows, a wooden shutter suddenly bangs open. The head of TRACEY EMIN appears, leaning over the sill to yell into the street below.)

TRACEY EMIN
One POINT ONE million!

FINIS

Also published at Sarsaparilla.

A quarter of a million people sitting at home watching TV

Wednesday 22 November 2006

I’ve added a few more photos to the Looking at People Looking at Art group on Flickr. These are from the launch of Raum 2810, a new art space in Bonn, which opened with an exhibition and collaborative performance by Michael Graeve and Christoph Dahlhausen.
I was over there for a weekend, to catch up with an old friend. The girlfriend is still thanking me for making her spend the weekend at an abandoned factory in a dormitory suburb on the outskirts of a dull, provincial town in one of the drabber corners of Germany.
Actually, the exhibition and opening were very pleasant; the people were friendly and invited us to stay on afterward for an enormous buffet and copious amounts of Australian shiraz cabernet. All very good, even though one of the dishes was a salad of onion rings and pineapple chunks in mustard sauce.
The old city centre of Bonn was bustling with crowds on Saturday, particularly with crowds of drunk people in silly costumes: it was the first day of Karneval. Yes, this part of the Rhineland starts its pre-lenten festivities in November. But then at night, and on Sunday, the city is deserted: it’s quite a job just finding somewhere to grab a coffee. After 10pm it’s possible to walk through the central streets utterly alone. It was uncannily like being back in Adelaide on a Saturday afternoon.
The girlfriend tried to amuse herself by photographing everything in town with the name “Beethoven” arbitrarily plastered over it, but her camera only had a 512 MB memory card. Nothing was named Schumann, despite both Robert and Clara being buried there, having lived at Endenich, which is now a suburb.
Even the toilets in the bars were hung with posters advertising the next piano recital at the Beethoven Konzerthaus, along with ads for Vicky Leandros’ christmas concert. Sadly, I think I’ll have to miss that.

Another London Pilgrimage: Wyndham Lewis

Sunday 19 November 2006

This jolly building is No. 4 Percy Street, Fitzrovia (“it would be called Soho by a careless guide”), sometime home of Wyndham Lewis at the time he was writing Tarr. No blue plaque marks the site, although Charles Laughton and Coventry Patmore have plaques on the same block. Appropriately, the ground floor is now a boutique called “Almost Famous”, and the first floor houses a “brand development” company.
(In fact, Lewis does have a blue plaque, but at one of his later residences, in Kensington.)

A little further south, across Oxford Street, is Soho Square, where T.E. Hulme once hung Lewis from the railings after an argument got a little out of hand. “I never see the summer house in its centre without remembering how I saw it upside down.” According to Humphrey Carpenter’s biography of Pound, the dispute was about which man had bonking rights over Kate Lechmere, but I haven’t found corroboration for this anywhere else, and Carpenter had a habit of ascribing motivations to his subjects based on nothing more than his distaste for them.
The statue is of Charles II. Despite his presence, there are no pelicans to keep down the rampant pigeon population.
Soho Square is also the place where Hulme was once apprehended by the law for urinating in public, in broad daylight. Hulme was indignant: “Do you realise you’re addressing a member of the middle class?” The policeman apologised and went away. I looked, but couldn’t find a plaque to commemorate the event.

Simultaneously overenthusiastic and excessively lethargic

Tuesday 10 October 2006

New on the blogroll: Straight from the Tated . It has excellent taste in links.
(Related: Take Every Day as it Comes, Brothers and Sisters)

That’s probably a “yes” to the former, then.

Wednesday 16 August 2006

Me, 25 May, looking around the Pompidou:
That Donald Judd stack is really biffed about: did someone drop it, or did the Pomp get it cheap off the back of a truck?

The Los Angeles Times, 3 August:

The world-renowned Pompidou Center of Paris, which set out in March to celebrate the work of Los Angeles artists, has accidentally destroyed two of their works — which fell from museum walls. A third piece was slightly damaged.

Yes, it turns out the Centre has form in trashing art works loaned to it.

“It’s no secret in the museum business that handling can be very sketchy at Pompidou,” said John Walsh, director emeritus of the J. Paul Getty Museum in Los Angeles.

(Links found via Modern Art Notes.)

I saw the LA show: like everything else at the Pompidou, they stuffed so much into this one exhibition there was no way you could take in everything in a single visit, even if you stayed all day. There were about twenty videos or films, some an hour long, in addition to a couple of hundred static works. Perhaps they were planning for attrition.
After a year in Europe it was great to see a substantial body of art from a place that was new, modern, urbanised (or suburbanised), and spacious (yeah, like Australia). One of the side effects of moving to the UK from Australia is that it has made me want to live in the USA. Even though I can’t drive.

Grand disillusion: it’s taken me this long to finish posting about the Berlin Biennial

Tuesday 15 August 2006

Sometimes you wonder why you bother. As an artist, as a curator, as a gallery-goer. An interview with the curators of the fourth Berlin Biennal reveals a quiet desperation as they discuss the scratching around they’ve done in a hunt for some means to break their lassitude. Contemporary art novices will wonder why they don’t talk about art; old hands won’t even bother clicking the link.
For their professed perversity, the curators’ attempt to shake things up doesn’t amount to more than pissing into an ocean of ennui. The only thing that got me truly puzzled at the Biennial was the inclusion of 30-year old art by Bruce Connor and Christopher Knowles, and even this looked like a curatorial gesture of defeat. No-one here, on either side of the Talent Moat, was operating outside of their comfort zones.
The biggest part of the exhibition was held in the old Jewish Girls’ School in the former Soviet sector: it was the first time the building had been open in over ten years. Really, everyone should know by now that attempting to put art in derelict buildings is a mug’s game. The art is left to compete with the building, and almost always loses. Correction: always loses.

At any rate, we were left free to roam the four floors of charming dilapidation only occasionally obstructed by artwork, once we had successfully passed through the security check and metal detector at the entrance. My German isn’t good enough to say whether they were searching us for bombs or for spraypaint. “Do not photograph,” admonished the sign tacked to the door, “this is not an art exhibit.” As we had guessed because, like the crumbling walls, it was more interesting than the art inside.
For the most part the art was trying to look Serious, i.e. grim and grotty in an effort to look more in tune with the darker aspects of life; the artists trying to pretend they weren’t quite so pleased with themselves, like the pious po-face of a libidinous preacher fronting up to Sunday service. Stockhausen spending a week barefoot in a rented log cabin in the mountains, divining the rhythm of the universe before he has to drive his Mercedes back to Kürten for a lecture. The grant recipient seeking inspiration by ramping up some empathy for the Turkish guest worker who comes into their flat each Tuesday.
Some of the art was just plain derivative (a room full of earth? in 2006?). People were making jokes about the dodgy lighting in a corridor being a Martin Creed work, until they found a title card showing that it was, in fact, a Martin Creed work. Then they made jokes about the Martin Creed work.
For all the standard curator-guff about inclusivity, the one piece that stood out and wasn’t thirty years old was Jeremy Deller’s film Theme for the 4th Berlin Biennial, shown in the old stables behind the former postal sorting centre: an old Klezmer group playing in someone’s flat, presumably the home of one of the band members. The tune they play is their own anthem to Auguststraße and the Biennial exhibitions that run its length. If only the rest of the show was as lively, well-crafted and generous as the theme tune performed in its honour. If only the other turgid, heavy-handed works in the show spoke as eloquently to the matters of history, society, and culture they loudly pretended to wrestle to the ground.
Curators need their fun, too: the room containing Christopher Knowles’ sheets of obsessively typed paper were hung in an old science room with a tattered poster of Einstein pasted on the wall.
Previously: Looking at looking at art.

“Remarkably boring sonic content but being free of musical substance can firmly be considered ‘sound art'”

Monday 24 July 2006

I had an urgent barbecue to attend in the Cotswolds, so unfortunately I had to cancel plans to see Mattin and some other new-musicy dudes play at Alma Enterprises last weekend. I forget who else was playing; I wanted to see Mattin again, having previously seen him give one of the best live laptop performances I’ve experienced outside of a strip club.

The stage presence of most live computer sound-crunching musos has been definitively described elsewhere as that of “bored young men checking their email”. Usually, the music isn’t much more engaging. But several years ago, in the Iwaki Auditorium, Mattin conscientiously set up his Powerbook, covered his ears, winced in anticipation, and waited.

Then, tentatively, he uncovered his ears and relaxed. Then he hunched forward and braced himself again, before relaxing once more. In between the occasional small adjustment to his inert computer, he and an accomplice crept from one corner of the auditorium to another, finding a place to freeze, cover over, and wait with increasing bemusement. There was never so much as a peep from the computer or the PA.

Last Saturday’s gig was held as part of a show currently on at Alma, “Arsenal: artists exploring the potential of sound as a weapon“. I would have said I was disappointed with the show, but I don’t have high hopes for gallery presentations of sound art, or for shows which advertise a political subtext.

The necessity of artists compromising their aesthetic or political beliefs to conform to such a high-concept curatorial brief is evident immediately upon entering the gallery. You wouldn’t know the show was about sound art: four of the six artists have presented video installations. Apparently, sound doesn’t have much potential as a weapon unless it is circumscribed with image.

Of these, two were video documentations of events involving sound and/or music. In November 2005 Thomas Altheimer attempted to sail to Guantanamo Bay to play Beethoven’s 3rd Symphony within earshot of the camp. There may be an interesting documentary in his tribulations to make the project succeed, but not in this muddled, artsy-fartsy installation.

Rod Dickinson’s video footage of his reenactment of the sound barrage used by the FBI at the seige of the Branch Davidian compound in Waco is similarly dull and unenlightening, elucidating neither the reenactment nor the siege itself. The most psychologically disturbing aspect of this piece was its expectation that you would sit wearing headphones while watching a video of unspecified length.

There was also a music video, little more than an advertisement for the metaphor of sound as virus without any further exploration of how this may work as an idea. The final video was an incompetently shot video of someone’s backyard accompanied by non-English speakers reading an English language primer, a cheap bit of grant-bait that fits the curatorial brief only if the intended audience is poor Professor Henry Higgins.

The sad part of this show is that underneath it all lies the tired old idea that art still has some social subversiveness to it, a political relevance it can no longer even pretend to claim. And yet the proposed transgressions are so vague and unambitious. If you want some real mayhem, try getting hold of William Burroughs’ Revised Boy Scout Manual.