There's a new show coming up at the Nexus Arts Cafe. Sounds rather interesting, especially since my favourite museum is Biologiska Museet in Stockholm.
The blurb states:
''Are You Dead?' is the latest exhibition in Nexus Art Café. Three contemporary taxidermists explore the relationship that we have with the animal kingdom. Disturbing, shocking and often highly amusing this exhibition challenges our perceptions of the animal kingdom by placing them in an unexpected context.'
Its opening is this Thursday 7 - 10pm and then runs until the 1st of November 2008.
There is also apparently a collection of stuffed animals in The Manchester Museum , which I should go and check out. Shamefully, despite previously studying at U of M, I haven't checked out the Museum yet.
Tuesday, 30 September 2008
Sunday, 28 September 2008
Brilliant tv not for me...
My god, I love the internet, and adore the BBC iplayer.
Not only does the iplayer provide me with eastenders whenever I fancy it, but other excellent BBC goodness. Unfortunately, looks like a current spree of classic arts programmes isn't going to make it onto the iplayer. Presumably there is some copyright problems with putting the programmes on the internet, but it is still rather disappointing.
Programmes I'm missing out on include the seminal The Shock of the New yesterday and Ways of Seeing tonight and until Wednesday.
Just so we know what we are missing there is a series called The Art of Art TV, which is going to be available to all us tv-less internet nerds.
Guess I'll just have to go back to trolling internet forums and bitching about Merlin.
Not only does the iplayer provide me with eastenders whenever I fancy it, but other excellent BBC goodness. Unfortunately, looks like a current spree of classic arts programmes isn't going to make it onto the iplayer. Presumably there is some copyright problems with putting the programmes on the internet, but it is still rather disappointing.
Programmes I'm missing out on include the seminal The Shock of the New yesterday and Ways of Seeing tonight and until Wednesday.
Just so we know what we are missing there is a series called The Art of Art TV, which is going to be available to all us tv-less internet nerds.
Guess I'll just have to go back to trolling internet forums and bitching about Merlin.
Wednesday, 24 September 2008
Niagara & Yumiko: The Good, The Bad & The Beautiful @ Richard Goodall Gallery
This exhibition is undoubtedly surfing on a current visual zeitgeist which has been building for years. Interest in Japanese visual culture and tattoo culture is certainly at a high point, coinciding with fashion's waxing and waning fascination with punk rock and the completion of rockabilly and burlesque's absorption into the mainstream. I would have to, however, disagree with any suggestion that either of these artists are particularly important.
I found the representation of women at times a little disturbing, particularly in Yumiko's fetishised, overtly sexual, gangly teenaged figures. There expressionless faces, with disconcertingly uniform mouths, gaze out with empty, pseudo-seductive eyes. The unreal, decorative mixture of pattern, simplified female form and carefully rendered flora and fauna, are located in an environment so utterly flat that mercury would not know where to roll. Though whimsical and blatantly sexual, the contourless flesh and expressionless faces are extremely un-erotic.
Niagara's women are a little more familiar, and are much more powerful than Yumiko's sex doll figures. Though comic book like, they have a textural depth and scintillating lustre. Most of her works, coming from a location somewhere between a 40s 50s Noir Film and pulp comics, are highly attractive, but lack depth and articulation. This problem is resolved in her more recent Opium series, which I found extraordinarily beautiful and sensual. In these, female faces with the flagrant yet dreamy eyed expression of Tamara de Lempicka women gaze out from patterned, textural, glimmering jewel like surfaces.
Niagara's work made this exhibition for me, her figures, although as fetishised and fantastical as Yumiko's, have a certain dialogue and power within them, which I feel the other artist's lacked. To me they come from a similar place as Jaime Hernandez's Locas, sexually self-aware, punky, plucky women who exist in an reality, similar, but quite divorced from out own. A show of Niagara and Hernandez would certainly be interesting, the dialogue between different approaches to women and narrative could certainly be illuminating.
Niagara & Yumiko: The Good, The Bad & The Beautiful is at the Richard Goodall Gallery until the 19 October 2008
I found the representation of women at times a little disturbing, particularly in Yumiko's fetishised, overtly sexual, gangly teenaged figures. There expressionless faces, with disconcertingly uniform mouths, gaze out with empty, pseudo-seductive eyes. The unreal, decorative mixture of pattern, simplified female form and carefully rendered flora and fauna, are located in an environment so utterly flat that mercury would not know where to roll. Though whimsical and blatantly sexual, the contourless flesh and expressionless faces are extremely un-erotic.
Niagara's women are a little more familiar, and are much more powerful than Yumiko's sex doll figures. Though comic book like, they have a textural depth and scintillating lustre. Most of her works, coming from a location somewhere between a 40s 50s Noir Film and pulp comics, are highly attractive, but lack depth and articulation. This problem is resolved in her more recent Opium series, which I found extraordinarily beautiful and sensual. In these, female faces with the flagrant yet dreamy eyed expression of Tamara de Lempicka women gaze out from patterned, textural, glimmering jewel like surfaces.
Niagara's work made this exhibition for me, her figures, although as fetishised and fantastical as Yumiko's, have a certain dialogue and power within them, which I feel the other artist's lacked. To me they come from a similar place as Jaime Hernandez's Locas, sexually self-aware, punky, plucky women who exist in an reality, similar, but quite divorced from out own. A show of Niagara and Hernandez would certainly be interesting, the dialogue between different approaches to women and narrative could certainly be illuminating.
Niagara & Yumiko: The Good, The Bad & The Beautiful is at the Richard Goodall Gallery until the 19 October 2008
Sunday, 21 September 2008
cloth & culture NOW @ Whitworth Art Gallery
This exhibitions ticks all the boxes it sets out to tick. It's beautiful, international and thought provoking. The selected works function well together, complimenting each other in the placement around the galleries. Altogether, this is probably one of the nicest ways to spend an afternoon in Manchester, set as it is within the comfortingly restored-Victorian setting of the Whitworth Art Gallery on Oxford Road.
However, I do take issue with two curatorial practises which are key to this exhibition. Firstly, I would like to question the emphasis it places on the artists nationality. Although textiles obviously has it's place within every nations identity, the promotion of this paradigm reinforces the folksy, craftsy status that textile art has. The works from northern European countries are graceful and simple, the types of thing to be seen in a high class version of Ikea ( though certainly not the unlamented Ilva), the Japanese works are either cutesy or oriental. The choice of works seems to beg the perennial question, rephrased as 'what came first, the cultural stereotypes or the textile objects?'
This kind of display of textile art has been a long time coming, but mostly in its choice of objects does not seem to question the long standing and contentious art vs. crafts paradigm. Some of the works, however, are wonderful, even a challenge to the doyen of crafty-fine-art Greyson Perry.
The other aspect I take issue with, which is nothing new and seems to have become a integral part of current curatorial practises, is the didactic manner of display. The visitor is closely directed and told what to think. Yes, it could have been a lot worse, more in the vein of the previous hang of the Tate Modern, but it is a bug bear of mine which I refuse to resign. I guess I want some terribly unfashionable mix of Victorian, post-modern and a curatorially naked display practises.
This being said, the exhibition is quite beautiful in an easy-on-the-eyes way, though unfortunately disjointedly strung out over different parts of the Whitworth. Although this should not be viewed as problematic, since the Whitworth is a singularly wonderful gallery to wander around, full of interesting and quite oddly placed thematic patches of art. The works in the upstairs room are much more interesting, perhaps because they are mostly sculptural. Perhaps, also, this is because they are less stereotypically craftsy or scandinavian-lite, and are displayed in a gallery with more space and light.
The exhibition is beautiful, and will certainly pleasantly fill an hour or so, but the choice of works, and the reliance on overly didactic and unoriginal ideas of cultural identity leave an ever so bitter taste in my mouth. I know that some people may look at me and say 'but that's the point', to which I would have to reply 'that's what I don't like about it...'
I'm trying to start a movement where the visitor tries to side step the instructive controls that are so prevalent in galleries today. When in a fine art gallery lets ignore the oh-so helpful and informative panels placed next to the objects. Will you join me?
cloth & culture NOW @ Whitworth Art Gallery until 14th December 2008
The Whitworth Art Gallery, on Oxford Road, is open Monday to Saturday 10am - 5pm and Sunday 12 - 4pm
However, I do take issue with two curatorial practises which are key to this exhibition. Firstly, I would like to question the emphasis it places on the artists nationality. Although textiles obviously has it's place within every nations identity, the promotion of this paradigm reinforces the folksy, craftsy status that textile art has. The works from northern European countries are graceful and simple, the types of thing to be seen in a high class version of Ikea ( though certainly not the unlamented Ilva), the Japanese works are either cutesy or oriental. The choice of works seems to beg the perennial question, rephrased as 'what came first, the cultural stereotypes or the textile objects?'
This kind of display of textile art has been a long time coming, but mostly in its choice of objects does not seem to question the long standing and contentious art vs. crafts paradigm. Some of the works, however, are wonderful, even a challenge to the doyen of crafty-fine-art Greyson Perry.
The other aspect I take issue with, which is nothing new and seems to have become a integral part of current curatorial practises, is the didactic manner of display. The visitor is closely directed and told what to think. Yes, it could have been a lot worse, more in the vein of the previous hang of the Tate Modern, but it is a bug bear of mine which I refuse to resign. I guess I want some terribly unfashionable mix of Victorian, post-modern and a curatorially naked display practises.
This being said, the exhibition is quite beautiful in an easy-on-the-eyes way, though unfortunately disjointedly strung out over different parts of the Whitworth. Although this should not be viewed as problematic, since the Whitworth is a singularly wonderful gallery to wander around, full of interesting and quite oddly placed thematic patches of art. The works in the upstairs room are much more interesting, perhaps because they are mostly sculptural. Perhaps, also, this is because they are less stereotypically craftsy or scandinavian-lite, and are displayed in a gallery with more space and light.
The exhibition is beautiful, and will certainly pleasantly fill an hour or so, but the choice of works, and the reliance on overly didactic and unoriginal ideas of cultural identity leave an ever so bitter taste in my mouth. I know that some people may look at me and say 'but that's the point', to which I would have to reply 'that's what I don't like about it...'
I'm trying to start a movement where the visitor tries to side step the instructive controls that are so prevalent in galleries today. When in a fine art gallery lets ignore the oh-so helpful and informative panels placed next to the objects. Will you join me?
cloth & culture NOW @ Whitworth Art Gallery until 14th December 2008
The Whitworth Art Gallery, on Oxford Road, is open Monday to Saturday 10am - 5pm and Sunday 12 - 4pm
Friday, 19 September 2008
Nexus Art Cafe: Eating & Eaten
One of my favourite not-so-secret secret places in Manchester's Northern Quarter is the Nexus Art Cafe on Dale Street.
It's a great place to pause, unlike most commercial coffee spots, whatever you've been doing. For example, in my desperate search for a copy of Halo Jones, it is perfectly located between Travelling Man and Forbidden Planet. Perhaps I just love it here because of the associations with those I love most in Manchester. It is unfortunate that it is no longer a night cafe, since in that capacity it was an unique and wonderful stop pit on an evening life, and I'm certain saved a few lives. However, it's opening hours now: 10 am - 7pm Monday to Friday and 11 am - 7 pm Saturday are a little more usual and probably guarantees a better income.
The current exhibition is Eating & Eaten, a show of works exploring food. Although the art works are of variable quality, they fill the cafe and they comprehensively utilise different types of display areas around the site. The relaxed cafe atmosphere and the eclecticism of the work and methods of display means that when substance is lacking it is not so apparent. If I saw most of these items in a more austere white-cube setting I would find them pretty unimpressive, but here they work far more successfully in their environment. I particularly like Marie Stephen's The Three Graces with Pasta, 2008, but then perhaps I just rather like squidgy bums and spaghetti a little too much.
John Yeadon's Vanitas are graphically attractive, playing with text, the significance of words in relation to food and consumption and images of food. Unfortunately there seems to be a lack of depth to the works, and the use textural and visual qualities in the images feels rather familiar. Although this familiarity is not overly problematic, they sit comfortably in the space and are quite beautiful to look at, I am left wanting more.
Eating & Eaten runs until the 27th of September. Nexus Cafe is always worth a visit and is probably my favourite place to hangout and snaffle wifi in the city centre, safe in the knowledge that there will always be something half interesting to look at.
It's a great place to pause, unlike most commercial coffee spots, whatever you've been doing. For example, in my desperate search for a copy of Halo Jones, it is perfectly located between Travelling Man and Forbidden Planet. Perhaps I just love it here because of the associations with those I love most in Manchester. It is unfortunate that it is no longer a night cafe, since in that capacity it was an unique and wonderful stop pit on an evening life, and I'm certain saved a few lives. However, it's opening hours now: 10 am - 7pm Monday to Friday and 11 am - 7 pm Saturday are a little more usual and probably guarantees a better income.
The current exhibition is Eating & Eaten, a show of works exploring food. Although the art works are of variable quality, they fill the cafe and they comprehensively utilise different types of display areas around the site. The relaxed cafe atmosphere and the eclecticism of the work and methods of display means that when substance is lacking it is not so apparent. If I saw most of these items in a more austere white-cube setting I would find them pretty unimpressive, but here they work far more successfully in their environment. I particularly like Marie Stephen's The Three Graces with Pasta, 2008, but then perhaps I just rather like squidgy bums and spaghetti a little too much.
John Yeadon's Vanitas are graphically attractive, playing with text, the significance of words in relation to food and consumption and images of food. Unfortunately there seems to be a lack of depth to the works, and the use textural and visual qualities in the images feels rather familiar. Although this familiarity is not overly problematic, they sit comfortably in the space and are quite beautiful to look at, I am left wanting more.
Eating & Eaten runs until the 27th of September. Nexus Cafe is always worth a visit and is probably my favourite place to hangout and snaffle wifi in the city centre, safe in the knowledge that there will always be something half interesting to look at.
Wednesday, 17 September 2008
Manchester Literature Festival
Been looking through the line up for this years Manchester Literature Festival, which runs 16 - 26 October, and getting rather excited.
Luckily, for someone who does not particularly like poetry, there are plenty of non-poetic events to keep me occupied.
Of singular interest is the all day pub-Comic con at the Lass O' Gowrie on the 17th called Vvorp Vvorp! Not just because my mate is doing the marketing press jiggery for the event, but I also get to finally meet Ian Edginton, one of the finest writers. If you haven't read Scarlet Traces or Leviathan, take my recommendation and go read them now! Seems to have a rather high Doctor Who content, which I feel like I am either too young or too old and embittered to get a real kick out of, but still looking forward to it.
Not content with that for a geeky bonanza, there is Between The Panels the next day. An illustrated discussion with graphic novelists sounds like a visual treat to my big ol' ears.
There's also some Mervyn Peake based shananigans, and though I haven't read any of his work for many years, his Gormenghast books were a major presence in my teenaged psyche. Ask nicely, and I may even show you my tattoo inspired by a passage in Titus Alone.
Anyway, there is a who tonne of other, less geekly georgeous, stuff going on over the period of the festival, some of which, with any luck, i'll be bringing you in blogafied form.
Luckily, for someone who does not particularly like poetry, there are plenty of non-poetic events to keep me occupied.
Of singular interest is the all day pub-Comic con at the Lass O' Gowrie on the 17th called Vvorp Vvorp! Not just because my mate is doing the marketing press jiggery for the event, but I also get to finally meet Ian Edginton, one of the finest writers. If you haven't read Scarlet Traces or Leviathan, take my recommendation and go read them now! Seems to have a rather high Doctor Who content, which I feel like I am either too young or too old and embittered to get a real kick out of, but still looking forward to it.
Not content with that for a geeky bonanza, there is Between The Panels the next day. An illustrated discussion with graphic novelists sounds like a visual treat to my big ol' ears.
There's also some Mervyn Peake based shananigans, and though I haven't read any of his work for many years, his Gormenghast books were a major presence in my teenaged psyche. Ask nicely, and I may even show you my tattoo inspired by a passage in Titus Alone.
Anyway, there is a who tonne of other, less geekly georgeous, stuff going on over the period of the festival, some of which, with any luck, i'll be bringing you in blogafied form.
Tuesday, 16 September 2008
Three Sisters by Anton Chekhov @ Royal Exchange Theatre
I know very little about Chekhov, apart from a few abysmal student productions seen many years ago. However, recent experience has taught me that with a little patience and an open mind a 19th Century novel can be utterly mad and stealthily sexy. With this in mind I approached Chekhov's Three Sisters, not knowing what to expect and was more than pleasantly surprised.
At first I was a little flummoxed, the profusion of characters being a little overwhelming, but relationships and feelings quickly became apparent. Who was who and wanted what and who became clear, but not clear enough to belie and belittle the following plot.
The story builds slowly, and though it become evident that this is not going to be a cheering play with a hearty ending, there is a bitter sweet comedy through out. This shy humour was a little spoilt by members of the audience who guffawed at things where perhaps a wry smile would be more appropriate, but was still sweet and touching. The characters discomfort with themselves, their feelings, situation and each other is gently acted, and means that you would have to be a complete egomaniacal twat not sympathise with them.
The ending is where the audiences patience is repaid. Although at no time the play becomes boring and loses the audience, it is a rather slow and steady build up to the finale. The denouement is heartbreaking and intense. Although the play is not uplifting, leaving me feeling rather lonely and sad, the ending brings the kind of macabre hope which colours the end of Heller's Catch 22.
I could not single out a single performance as weaker than the others, and when the flaws in the central trio of sisters gets a little annoying, it is clear that the problems are with the difficult characters, not the actresses performances. The set, lighting and design is beautifully understated, with the final garden setting being almost magically simple, with stunning magnificent birch trunks.
So, although this play is imbued with false hopes, frustrated relationships, failed romance, thwarted ambitions and seems to set up every loving relationship for an inevitable ending in miserable debacle, there is something rather soothing about its practised and poised pessimism. You come out half strangely comforted and half wanting to phone your ex. This is a tale of loneliness, but it is a lovely one.
Three Sisters by Anton Chekhov is at the Royal Exchange Theatre, Manchester, till 11 October 2008
At first I was a little flummoxed, the profusion of characters being a little overwhelming, but relationships and feelings quickly became apparent. Who was who and wanted what and who became clear, but not clear enough to belie and belittle the following plot.
The story builds slowly, and though it become evident that this is not going to be a cheering play with a hearty ending, there is a bitter sweet comedy through out. This shy humour was a little spoilt by members of the audience who guffawed at things where perhaps a wry smile would be more appropriate, but was still sweet and touching. The characters discomfort with themselves, their feelings, situation and each other is gently acted, and means that you would have to be a complete egomaniacal twat not sympathise with them.
The ending is where the audiences patience is repaid. Although at no time the play becomes boring and loses the audience, it is a rather slow and steady build up to the finale. The denouement is heartbreaking and intense. Although the play is not uplifting, leaving me feeling rather lonely and sad, the ending brings the kind of macabre hope which colours the end of Heller's Catch 22.
I could not single out a single performance as weaker than the others, and when the flaws in the central trio of sisters gets a little annoying, it is clear that the problems are with the difficult characters, not the actresses performances. The set, lighting and design is beautifully understated, with the final garden setting being almost magically simple, with stunning magnificent birch trunks.
So, although this play is imbued with false hopes, frustrated relationships, failed romance, thwarted ambitions and seems to set up every loving relationship for an inevitable ending in miserable debacle, there is something rather soothing about its practised and poised pessimism. You come out half strangely comforted and half wanting to phone your ex. This is a tale of loneliness, but it is a lovely one.
Three Sisters by Anton Chekhov is at the Royal Exchange Theatre, Manchester, till 11 October 2008
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