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Culture

Soccer, soca, and similar

I was getting antsy waiting for the footy (an hour and twenty minutes build-up before the match clearly isn’t enough, dammit), so I thought I’d try and buy some music from each country England plays in the World Cup.

I already have a fair bit of Swedish pop, thanks to Catchy Tunes of Sweden. Trinidad and Tobago was easy enough; the team nickname is the ‘Soca Warriors’ after all, and so I looked up soca on Wikipedia and bought a few tracks from iTunes, some old (Lord Shorty, The Mighty Sparrow, Lord Kitchener), and some new (Shurwayne Winchester, Machel Monatano).

Paraguay, on the other hand, seems a bit tricky. Calabash, everyone’s favourite fair trade world music mp3 shop, doesn’t have anything from Paraguay. Wikipedia was useless. iTunes mainly offers me traditional harp music which, to be honest, I’m not getting enthusiastic about.

Can you tell I’m killing time here?

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Culture Nature Other

playing with cameras

Also available super-big on Flickr






Categories
Culture

‘Undercover Surrealism’ at the Hayward

Going to them one after the other, it’s hard not to see the Undercover Surrealism exhibition at the Hayward as some kind of riposte to the Modernism exhibition at the V&A.

The Hayward exhibition (full title: Undercover Surrealism – Picasso, Miró, Masson and the vision of George Bataille) is about a magazine called Documents which Bataille ran from 1929-30. Bataille was most closely associated with the Surrealists – he had a falling out with the ‘official’ surrealists and was never really a surrealist himself, but that was the circle he moved in. Documents was notable for juxtaposing articles about high culture, popular culture and ethnography. So you get coverage of Stravinsky, Duke Ellington, Picasso, Dali, Buñuel, Hollywood, trashy novels, African masks, Ethiopian iconography, and the development of the horse imagery from Roman coins into the coins of the Dark Ages. To be honest I was unexcited by the prospect of an exhibition devoted to a magazine, but the curators have done a good job of tracking down plenty of the objects that were covered; so there are Miros, Picassos, Giacomettis, as well as African masks, Dark Age coins; all sorts of stuff. Including some music and film, which was a good move. Apart from the intrinsic interest of most of the exhibits, it did a good job of evoking a particular artistic moment. You can see some of the work here.

Documents existed bang in the middle of the period covered by the V&A Modernism exhibition, but while Corbusier and the Bauhaus were building their airy white machines for rational hygienic living, the Surrealists were more interested in violence, sex, fetish, blood, transgression and distortion. Here’s a typical bit of Bataille:

The slaughterhouse is linked to religion in so far as the temples of bygone eras (not to mention those of the Hindus in our own day) served two purposes: they were used both for prayer and for killing. The result (and this judgement is confirmed by the chaotic aspect of present-day slaughterhouses) was certainly a disturbing convergence of the mysteries of myth and the ominous grandeur typical of those places in which blood flows. In America, curiously enough, W. B. Seabrook has expressed an intense regret; observing that the orgiastic life has survived, but that the sacrificial blood is not part of the cocktail mix, he finds present custom insipid. In our time, nevertheless, the slaughterhouse is cursed and quarantined like a plague-ridden ship. Now, the victims of this curse are neither butchers nor beasts, but those same good folk who countenance, by now, only their own unseemliness, an unseemliness commensurate with an unhealthy need of cleanliness, with irascible meanness, and boredom. The curse (terrifying only to those who utter it) leads them to vegetate as far as possible from the slaughterhouse, to exile themselves, out of propriety, to a flabby world in which nothing fearful remains and in which, subject to the ineradicable obsession of shame, they are reduced to eating cheese.

That’s one of the entries from the Critical Dictionary that was a feature of Documents. Somehow I don’t think Bataille would have agreed that less is more. Even the ethnographic stuff feels rather fetishised – even though it is a serious and intelligent effort of early ethnography, there are enough hints through the exhibition to suggest that Bataille’s interest in black people was basically sexual. Mind you, he seems to have found most things sexual. The surrealists, of course, were also a key part of de Sade’s reinvention as an important literary figure; it was that moment when Freud was seen as validating everyone’s sexual quirks, and the quirkier the better.

It’s tempting to see the two things – Corbusier on the one hand and Dali on the other – as somehow two sides of the same coin, or each as necessitating the other. Or at the least as products of the same forces; of the Great War, and a moment of cultural and historical instabiity when everything was up in the air and no-one quite knew where the world was going. As Yeats put it in 1920: The best lack all conviction, while the worst are full of passionate intensity. Perhaps it’s unwise to insist too much on the historicity of it, though. There are probably always some people who are minimalists by temperament and others who are surrealists.

Categories
Culture Other

Big Chief Elizabeth

I just read Big Chief Elizabeth – How England’s Adventurers Gambled and Won the New World, by Giles Milton. As the title suggests, it’s an account of the earliest attempts to set up an English settlement in America. As the title also suggests, the general tone of the thing is ‘rollicking yarn’ rather than ‘nuanced and careful investigation into the ethics of colonisation and colonialism’.

That’s fine by me. I refuse to feel any ancestral guilt over anything countrymen of mine did over four centuries ago. Or indeed feel any ancestral outrage over things done to them, since there seems to have been plenty of brutality on all sides.

I was slightly startled to realise how little I knew about the subject. In a curious way it’s become part of American history rather than British. Not that gaps in my historical knowledge are so unusual they need a special explanation.

Odd how hard it is to shift the idea of the Elizabethan period as glamorous. I mean, the clothes were pretty fab, and there was Shakespeare of course, and pirates and gold and stuff, but Elizabeth was just another capricious despot in a string of despots.

Sir Walter Ralegh features heavily, of course. Which seems as good a reason as any to post a favourite poem.

As you came from the holy land
Of Walsinghame,
Met you not with my true love
By the way as you came ?

How shall I know your true love,
That have met many one,
As I went to the holy land,
That have come, that have gone ?

She is neither white nor brown,
But as the heavens fair ;
There is none hath a form so divine
In the earth or the air.

Such a one did I meet, good sir,
Such an angel-like face,
Who like a queen, like a nymph, did appear,
By her gait, by her grace.

She hath left me here all alone,
All alone, as unknown,
Who sometimes did me lead with herself,
And me loved as her own.

What’s the cause that she leaves you alone,
And a new way doth take,
Who loved you once as her own,
And her joy did you make ?

I have loved her all my youth,
But now old, as you see,
Love likes not the falling fruit
From the withered tree.

Know that Love is a careless child,
And forgets promise past ;
He is blind, he is deaf when he list,
And in faith never fast.

His desire is a dureless content,
And a trustless joy ;
He is won with a world of despair,
And is lost with a toy.

Of womankind such indeed is the love,
Or the word love abusèd,
Under which many childish desires
And conceits are excusèd.

But true love is a durable fire,
In the mind ever burning,
Never sick, never old, never dead,
From itself never turning.

Categories
Culture Other

Michelangelo drawings at the BM

The British Museum has an exhibition of Michelangelo drawings at the moment. According to them:

Drawing on the outstanding collections of the British Museum, the Ashmolean and the Teyler Museum in Haarlem, Michelangelo Drawings is a once-in-a-lifetime opportunity to follow the evolution of some of the world’s most celebrated artworks

Which is probably fair. Being Michelangelo, it basically consists of lots and lots of drawings of contorted male nudes. There are occasional other things – a drapery study, a few architectural sketches, even a picture of a woman – but basically it’s figure studies. If he ever filled in a spare minute by sketching the cat, or a bunch of flowers, those pictures didn’t make it into the exhibition.

Apparently he was very reluctant to show people unfinished works and burnt most of his sketches before his death, so conceivably the ones he burnt included lots of pictures of bunnies and trees, but somehow I doubt it.

Despite being a tad repetitive (ooh look, another muscular torso), it’s an enjoyable exhibition. There’s a certain simple thrill in seeing the preliminary drawings for the Sistine Chapel ceiling or the dome of St Peters, and it’s interesting to get a sense of his working methods, but to be honest I have a limited tolerance for the really sketchy drawings. Fortunately there were enough more highly finished things to keep me engaged.

Mind you, drawings are never quite the real thing. The second-hand magic of photos of the Sistine Chapel and the Pietà was almost more powerful than having even the best drawings right in front of you.

One note: it’s very crowded. Despite having to wait nearly two hours to use my timed ticket, I still spent a lot of the time waiting to look at things to looking over people’s shoulders. But the wait did give me an opportunity to go to Bi Won, a Korean restaurant in Coptic Street that I’d recommend for lunch if you go to the BM. The lunch-time sets for about £6.50 are superb value.

Categories
Culture Nature

Digital Library for the Decorative Arts and Material Culture

I was looking for an internet copy of Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director (which is a large collection of the most elegant and useful designs of household furniture in the Gothic, Chinese and modern taste) and found the University of Wisconsin’s Digital Library for the Decorative Arts and Material Culture. Not only does it have complete scans of the Chippendale, it also has Owen Jones’s The Grammar of Ornament, and lots of similar stuff like Temple of Flora, or, Garden of the botanist, poet, painter, and philosopher, The City and Country Builder’s and Workman’s Treasury of Designs, or, The art of drawing and working the ornamental parts of architecture, and A New Treatise on Flower Painting, or, Every lady her own drawing master: containing familiar and easy instructions for acquiring a perfect knowledge of drawing flowers with accuracy and taste: Also complete directions for producing the various tints.

And while I’m posting links to that kind of thing, I can’t resist adding one to Ernst Haeckel’s Kunstformen der Natur.