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Dark Knight or Dark Art? Andy Hope’s 1930 Comic Visions

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I am standing under a giant billboard for the Dark Knight DVD release. The poster is faded, and bits of it are torn. Everyone I know has seen it. I gaze up, my lips parting momentarily from my paper coffee cup. I cock my head to the left, a grimace spreading on my face, and I already feel critical.
You see, I have a special relationship with comic books. Childhood memories of summer holidays always smelt like sunscreen, sea salt, and paper. Dark ink on cheap pages, small speech bubbles and one-liners, fast action without action. In these pages, characters were living more in a square box than others have lived in their entire lives.
I remember coming out of the sea, running towards my towel (held on the sand by four large rocks, one on each corner), digging in the beach bag and bringing the latest comic book under me. The tips of my hair would drip on the page, making the ink run, the story coming to life. I remember quiet afternoons, when everyone had a quiet siesta; everyone but me and the crickets: I read, they sang. Of course, then I was too young to know how to read; but that did not matter. I knew that something important was happening in those pages, and that filled me with a thrill that I can still feel on my fingertips.

I grew up watching He-Man and She-Ra, reading Duck Tales, hunting for the latest issue of Xmen, Superman, and even Aquaman books. I think that the fond memories I have of these novels might be why I am so aware of the recent comic book-to-screen flood. Different Spidermen, Supermen, X-Men, Avengers, and well, Batmen are jumping in their Lycra (or leather) bodysuits, and fly (on a jet or with a cape) over the city skyline and to the top of the Box Office.
Some stay true to the original; some deviate. For me, the value is not necessarily on how loyal they remain to the actual story of the comic book; it is about the comic book feel that they carry with them on the big screen.
This reminded me of the adopted the name Andy Hope 1930 as he considered the year vital to the main elements of his work: the rise of the comic book to a mass medium and the abandonment of suprematism and Russian Constructivism.
Hope 1930 is known for his iconography, combining comic books, science fiction, mythology, history, pop culture, and literature in his work with bold use of brush strokes and colours. In the Medley Tour exhibition, he tried his own superhero talent, attempting to manipulate time:throughout the exhibition he revisits his past work, and identifies the path of his technique, deconstructing his work and working backwards in order to move forwards.
He uses familiar themes like the black masks from his depiction of Robin Dostoyevsky; the woman’s hairstyles from his paintings of Hollywood starlets; and the dark shapes that accompany the majority of his past work, to trace his journey through his work.
He also built an actual batcave inside the exhibition, referencing the classic Bruce Wayne hideaway, constructed with a playfulness that reminded me of my childhood view of the comic book world.
I look at the poster again. Anne Hathaway as Catwoman. I sigh. It starts raining, and as I begin walking again, I decide to clear my head from preconceptions, and go and watch the movie with an open mind.
To the Batmobile!

Love,

G

Art and Furniture: a Design Junction

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Can a chair be a piece of art? I hear a woman with pigtails and a fur coat ask the man next to her. He doesn’t seem to take notice. The chair seems to be the only thing that he can focus on, he seems so lost in it that for a moment I wonder if I am missing something. I look at him, then the chair, then back at him. There is a link, a tangible link of admiration that comes with personal taste, knowledge, and an inexplicable preference. The woman gets impatient, and with a swift movement moves on to the next stall, waking him up from his daze. ‘Yes, yes, I think it can be‘ he replies with a delay, and steals a last glance before moving on.
I remembered that moment as I was walking by a furniture store today. It happened when I went in Design Junction during the London Design Festival trying to track down a table for a photoshoot. I had some time to kill, so I decided to explore the three floors that were filled with design treasures.
I passed the sea of Gocci lights, stood in front of the light wall of Benjamin Hubert, and got lost in the light sculpture from LFZ. I loved the Baccarat Umbrella light, and the paradox in its construction: usually used to keep the sun at bay, the umbrella was taken as a symbol and was transformed in order to contain the light under it and shield it from the outside world. The result was just hypnotising, and I think I would have spent a bit more time staring at it if something else did not steal my attention.
A beautifully created space on the front corner seemed like a half-finished house. Inside it, various objects of beauty, scattered in an deliberately haphazard way. I made my way there, and was greeted with a warm hello and a leaflet on Maggie’s, the organisation that curated that space. Within minutes, I learned how the cancer caring centres commissioned the wold’s leading architects to design drop in centres reflecting a user-friendly atmosphere. For this piece, Maggie’s collaborated with a number of designers who donated key pieces from their body of work to be sold on behalf of Maggie’s, where all proceeds go towards upkeeping and constructing Maggie’s centres. The space was called Joy of Living, reflecting the latter part of the quote ‘the fear of dying should not steal from the joy of living‘.
Promising I will check the project online, I went and had a look at the stunning construction from the Design Exchange magazine, a room with mirrored surfaces and a podium with the magazine on. The result was something you would expect to see in the middle of a gallery instead of the corner of a design fair. A look around though, and the point was made clear; purists would frown upon me saying that, but I always thought design has an element of art embedded in its DNA. I grabbed a coffee on the go from the Design cafe, and snuck at the back of the second floor cinema to see people wearing glasses and black shirts talk about silhouettes, shapes and simplicity.
And I was reminded of all that as I glanced from the furniture shop window a couple trying on a sofa. They were both trying the leg-streching, pillow adjusting, TV watching positions that a sofa is tried and tested on. Carving details on the art of the everyday.

Love,

G

RetroARTive: Sarah Lucas Rose Bush

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I remember reading a piece about déjà-vu; if memory serves me right, it said that it is a chemical imbalance on the amygdala, the almond-shaped part of the brain that processes emotions and feelings as they are taking place. Apparently, that momentary lapse creates a memory from the present, generating the confusion that comes with remembering the now.
However, as I was standing in the familiar setting of the Situation, part of the Sadie Coles Gallery, I realised that the feeling I was re-experiencing was generated from what is similar but not same. A few months ago, I visited the space for the
Make Love Exhibition, and wrote the RetroARTive piece on it that drew me back to this space the second time. I wanted to see what occupied the space. I was pleasantly surprised.
It turned out that the gallery is in fact dedicated to Lucas‘s work until the end of 2012, and is following an organic flow of evolution that is curated by the artist herself. Historical and new pieces by Lucas and occasionally other artists occupy the space, and transform it into the artistic puzzle that is Lucas’s mind.
The wallpaper was the same but different, with an added layer building up and tearing down the previous image. Two big hooker Boots were in a podium in the middle of the room, lit by a single red bulb. Toilet bowls were carefully placed around the gallery, in the same spot that the concrete blocks and chairs were two months ago, giving the impression of a transformation. Indeed, the creature that was living on the ironing board before now moved to the main room, wrapped around a gun, pointing aimlessly at the wall.
I absolutely loved the main statue of presence and absence, the female shapeless form, breasts made of two light bulbs, and the pelvis, previously a tin now replaced by enamel.
Lucas’s work stayed true to the Make Love spirit, and added a layer on it.
And as I am posting this, I am wondering how the space is now. Only time will tell.

Love,

G

The exquisite sound of Mark Campbell

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Left foot, then right, then left again; staying behind the yellow line; people reading Fifty Shades in their kindles, the Evening Standard from the person sitting next to them, or the tube ads to avoid eye contact; and then walk down corridors, stay on the right side, or walk on the left if you are in a hurry; touch in, touch out, and make your tube journey as short as possible.

I was coming up the escalators, when this sound started creeping in my consciousness, slowly taking over all of my attention. I can not really describe it; it had this other-wordly quality to it, this crystal clarity embellished with human emotion, sound waves carrying something more than just sound.

I continued walking, trying to find the source of that music. And then, at the end of the escalators, I found it.

Mark Campbell was standing in between two platforms, producing melodies just by himself, a one-man organ of extraordinary music. I guess you can describe his song as whistling, but it was so much more than that; it came from deep inside, from a place that surpassed skill, talent, and description.

If I had to sum it up, it would probably be the most heartbreaking, uplifting, humane and super-human sound I have heard for a long time. I was mesmerized. I walked past him, over to the to the escalators, and up to the exit. And then I stopped; I turned around, went down the same way, and sat in a corner, put my bag on the floor, crossed my arms in front of my chest and stood there, taking his music in.

A few minutes later, I approached him and asked him his name. My compliment about his talent was rewarded by a firm handshake, and he then resumed whistling. I googled him, and found a video from a project he was involved in, called the Busker Symphony, composed and directed by Benjamin Till. You can hear Mark in action there, but I found that his song lose something when you don’t hear him live; it is almost as if the acoustics of the tube amplify his songs, as if the underground was built as a stage for his music.

When I came out of the station, I felt elated; for some reason, Travis came into my mind, and I found myself singing ‘Sing‘.

It is amazing to see what a human can do. Makes you proud and humbled at the same time.

For the love you bring, won’t mean a thing, unless you sing, sing, sing.

Love,

G

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Celebrating Food: Waterloo Quarter Food Festival

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Walking around the streets of London after work is usually connecting point A with point B through a number of footsteps. Eyes are tired from staring at a screen, feet in pain from standing all day, brain full of the little details you forgot, or can not stop remembering. All the senses fast asleep in a fast-paced walk that is purely functional.

I was on my way home, adding a list of task on my iPhone for the evening and tomorrow morning, frown set above my eyes, tummy rumbling for a quick food fix.

You see, after a whole day, there are times that you can not go home and cook- you don’t want to. You just want to eat something that will fit your absent-minded experience, a snack that will fill you without distracting you from your distractions. Something that you can chew while thinking about the day, or slurp while you are watching the same episode of the Big Bang Theory on E4 that you saw last week.

And here I am, distracted from my absent-mindedness. The smell is absolutely mouth-watering. I can smell barbecue, and lemonade, and sweets (yes, I am very hungry, my senses are heightened to Superman level). As I register the smell, the frown disappears, and my eyes dart around the street to find its source. I find myself turning on a different corner, into a street I have not been before; how can I pass from here everyday and not notice how beautiful it is?

Soon, I hear music, and laughter, and the kind of oohs and aahs only good food can produce. As I walk to the end of the street, I see a crowd sitting in the middle of a circle made by food stalls, and a live band in the corner entertaining the hungry audience. I see the sign in the entrance: Waterloo Quarter Food Festival, and as I hear my stomach’s excitement, I realize that I am sitting on the wrong end of the street.

A few steps inside, I spot food stalls from some absolutely amazing pubs, restaurants, bakeries and patisseries. I grab my GastroPassport, and look at the amazing range of events, discounts and offers it has (with a lovely design in the end for food travel stamps and competitions). I look around me and smile.

A huge selection of colour and taste from Indian Brasserie Bangalore and Turkish Restaurant Tas; a touch of Cuban flavor from Cubana; a brilliant selection of products from Greensmith; a healthy offering of alcohol from Auberge, Jack’s Lounge Cocktail School and La Barca; the best of both worlds from the Three Stags gastropub; and last, but not least, one of my favorite cake shops, Konditor and Cook, with their signature cupcakes.

I am now sitting in the middle of the festival, taking in the live music from Candythief, eating a delicious combination of flavors, savoring each bite. I am trying to remember what had me worried just 10 minutes before, but I am enjoying my food to much to care.

In a celebration of food, I realize that food can be a celebration of the everyday, of the small moments that go in with the ingredients; the ability to escape the mundane and make it special; one mouthful at a time.

love,

G

Another London at Tate Britain

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London is one of the most colourful places to live in. Even if you are in the centre of the city, surrounded by the grey buildings, the navy-blue suits, and the metallic frames that hold everything together, you will be able to spot a bright yellow frame sticking out, a red dress rushing down the tube escalators, or a purple hair framed face reading the Evening Standard in a crowded bus.
London is a colourful city not for the geography, but for the people in it. Londoners are intense marks on the city canvas; multicoloured dots, straight lines, and forceful brush strokes, every Londoner is a reflection of light, a shade of colour.

This is why I am now standing in the middle of the exhibition, eyes wide open with surprise, lips parted, as if I am about to say something; nothing comes out.
You see, I have just entered the Another London Exhibition in Tate Britain, where more than 40 photographers captured life in the Capital on film. The only thing is the film is black and white, a form I absolutely adore, but did not expect to see in this space. And it is not just one or two pictures; the whole exhibition is a monochrome sea of city life.

However, from the second shot, I realise why. The pictures have the common quality of a frozen moment in time, a single second taken from the everyday. They portray London as the dynamic metropolis it is, richly varied and full of contrast, seen through a different angle.

Each photographer seemed to have a very different relationship with London; from fleeting visits as a tourist, or a journalist, to the unique view of a refugee or a permanent resident, each lens documents a different story. The diversity of the people behind the camera results in a depiction as diverse as the city itself, a jigsaw that seems puzzling unless you are part of it.

I have to say that my favourite was the seventh room, where British subcultures started being documented. Neil Kenlock‘s looks at immigrant Britain, Karren Knorr and Oliver Richon‘s get immersed in Punk Culture, Leonard Freed looks at Jewish Communities, and Marketa Luscacova, Mario de Biasi and Al Vanderberg look at the styles of Londoners.

Marfine Franck‘s look at older people is very touching, as is Lutz Diller‘s social documentation. Indeed, there are moments where the class system is captured, like Robert Frank, Irving Penn, and Wolfgang Suchitzky, capturing the lives of the poor and the affluent on the same strip of film.

Then, you have the alternative images. Dorothy Bohm provides an eerie imagery with her pictures of London after the bombing in the war, that comes close to the mystical images of Sergio Larrain. Ernst Haas produces pictures that are deliberately out of focus, Hannes Killian tries to capture movement, and Herbert List develops his own photographic language (photographia metalifisica), looking at dream states with double exposures, portraying a surrealistic view of a familiar city.

The poster of the exhibition is a picture by Bruce Davidson, of a girl holding a kitten on the sidewalk of a busy street, both looking lost, both found by each other. It is interesting to see how Davidson says that he has made several attempts to track down the mystery girl, all unsuccessful.

And to me, this is the magic of London. The fleeting moment. The here today, gone tomorrow nature of the city. The meaning that a picture holds, as it is a shot of something that will not be the same tomorrow. The ephemera caught on a screen, light translated to digits, fingerprints of a visitor that came and left. When I go to exhibitions, I don’t want to take a picture of the work; I want to capture the visitor with the work. I want to observe that moment when the image on the wall becomes a part of the person standing in front of it. A memory to be kept or discarded. A moment.

Inge Morath said that

‘[when I came to London] the world around me seemed to be filled with things that wanted to be photographed. I had finally discovered my own way to express what interested or obsessed me in a way with which I could live.’

And to me, this is London, this is art, this is photography. This is the everyday.

Love,

G

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Trapped in a Concrete Wall: RetroARTive Sarah Lucas in Sadie Coles Gallery

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I did not know what to expect when I made my way up the the stairwell. I was convinced I was in the wrong place. This looked like a derelict home, or the perfect setting for the horror film scene where the naive visitor finds the killer on the top of the stairs with an axe. I hesitantly looked up; no killer; no axe; well, maybe on the next floor.
I decided that I was being silly. There is nothing gruesome in this place. Yes, it might look a bit gruesome, and spooky, and — and then I froze. I was on the correct floor. I was at the entrance, where I saw two legs, stuffed in pink tights, sticking out of a brick wall. My blood froze, and my pupils widened. ‘Hi there‘, someone whispered behind me. And I screamed.

Now, sitting calmly at Costa a few months later, with a Hazelnut Latte and the program from the Sarah Lucas exhibition next to me, I admit that this seems like an overreaction. And I can fully justify the three steps the gallery assistant took towards the opposite direction; and his frozen smile throughout my stay there. However it was worth it.

You see, the Lucas exhibition Make Love was at the Sadie Coles sister gallery, Situation, and to my opinion was the best possible setting, almost adding to the quality of her work. Fantastically curated, the pieces worked alone but fit as a group as well (something that is very difficult to achieve in such a great level with such ease).

Lucas’s signature symbols, imagery and technique was as always flawless. The pieces looked abstract, but evoked a very crisp emotion. The room had a warm pink glow, an almost sickly femininity about it, that came in a stark contrast to the themes of female identity that the pieces themselves represented. The body is reduced to the male pleasure targets; a woman is shown as nothing but a body part, a function, an absent-minded presence.

Indeed, a concrete wall has trapped a naked bottom half; women encased in chairs, becoming part of the furniture; odd items forming the breasts and genitalia of a woman that is otherwise not there.

Lucas’s application of the woman as a functional item is truly thought provoking, especially when thought in context of her history as an artist (part of the Young British Artist movement), her contemporaries’ take on the female art (Tracey Emin, one of my favourite artists), and her antecedents (for example Opie and Nakadate). Her work provokes an unpleasant emotion – unpleasant because it has a dangerous truth in it, a reflective surface that shows something awfully familiar.

I said goodbye to the gallery assistant who still eyed me with the suspicious look you would give to a man with a grey mac in a park at night, and got out. I passed from a newsagent, to get my latest copy of Time Out. I looked up, and saw all the male oriented magazines, different forms of the same thing I saw minutes ago. Art imitating life imitating art.

Love,

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Proud

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This year’s World Pride began with a lot of negativity. Budgets were cut, street parties were cancelled, timetables changed daily, and the Mayor of London stood there, watching everything unfold under his yellow fringe.
But the LGBT community and Londoners are not the crowd to fall down and stay there; when life gives us lemons, we squeeze the hell out of them. There is no negative without a positive side, and this year was the proof.

Multicoloured flags were waving in the rain; underneath it, people smiled, got wet, cheered, held hands, and supported human rights and equality. It seems that for some people, Pride stops at the elaborate costumes, impressive drag outfits, or barely-there hot pants. But pride is so much more.
From bringing issues like marriage, work rights, spousal abuse, homonegativity and homophobia into the forefront, to actually demonstrating a presence, the event serves a purpose. It shows that it is ok to be yourself, in any shape and form, gender and sex, sexual orientation or practice.

It shows that there is diversity. It was so encouraging to see teenagers participating, being there, with huge grins on their faces, waving their rainbow flags proudly; for what it represents; for who they are. Opposite the massive Trafalgar Square stage, visitors could find stalls with friendly faces, ready to provide help and information: Stonewall, Terence Higgins Trust, LGBT History Month, GMFA, Gingerbeer,  Antidote, Youth Chances, Square Peg Media, G3, FS and Out Magazines, GuySpy, Albert Kennedy Trust, London Lesbian & Gay Switchboard, Galop, were some of the companies that were there with information.

Even though the whole day was amazing, I have to admit that there were two moments that really touched me:

The first was when a handful of people, the Veterans, were at the very end of the parade, holding a purple banner with Veterans of 1972, UK’s First LGBT Pride written in white. Peter Tatchell was there as well, holding a banner reading Decriminalise Homosexuality Worldwide, Global LGBT Equality. I could not help but clasp my chest, as I was watching these inspiring people walk down the street, with 40 years of fighting for equality at their backs. People that must have suffered through time to achieve rights that so many of us now take for granted. I clapped as hard as I could, and wished them another 40 years of strength and health.

But the moment that stayed with me was when a lesbian couple was walking, hand in hand, and someone turned and started making fun of them. For a milisecond, their hands weakened, their grip loosened, their eyes flashed with worry. And then the crowd around them intervened. We started booing the booer. The street did not tolerate intolerance. Their hands strengthened, their grip tightened, and their eyes filled with tears, moved with the support they received. And then they turned, and looked at each other with the kind of love that can not be wrong, can not be criticised or classified or blamed.

LGBT rights (basically, human rights) are still not acknowledged in so many countries. People are encouraged to live a lie, punished for being themselves, and get abandoned, abused, or even killed for not being what society expects them to be. Lesbian women are ok only if it is to turn straight men on, and gay men are ok only as secondary characters in a HBO series. These are the only acceptable forms, because they are familiar, non-threatening. Well, Pride makes the LGBT community visible; familiar; non-threatening. As Quentin Crisp once said:

It is not the simple statement of facts that ushers in freedom; it is the constant repetition of them that has this liberating effect. Tolerance is the result not of enlightenment, but of boredom.

I hope you had a nice World Pride, and even if you were not in London, celebrated it anyway. You must be proud of yourself for being open-minded, non-judgemental, and supportive, to the millions of people who look at others like you for acceptance, unconditional friendship, and love; proud for being a part of the solution.

Love you all for who you are,

G

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Lost in the Food Garden Cafe: Culinary Escape on the Top Floor of Selfridges

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All I can see is yellow. In a rather grey London day, the only colour that stands from the crowds comes in square shapes, holds something probably expensive and definitely luxurious, and is the brightest shade of canary. Yes, the famous Selfridges bag forces me to remember number 231 in the Time Out 1000 things to do in London list: eat your way around Selfridges; and cursing the pains of investigative blogging, so I did!

Pushing the revolving doors, i escaped the seriously busy Oxford Street to enter an equally busy shopping heaven. Last time I was in Selfridges I covered the Museum of Everything exhibition (one your favourite magnificent posts), so I was eager to see if it would live up to my expectations for a second time. I hurriedly made my way through a crowded beauty hall, to the the escalators, thinking of the variety of options housed in the store.

Now if you are looking for a full-blown meal, you can try the lavish HIX restaurant (ground floor), or the contemporary French bistro Aubaine (2nd floor). You can get warm (and drunk) with one of the 20 cocktails from Gordons (1st floor), or by playing at the ‘wine juke box’ at The Wonder Bar. If you want to have your cake and eat it, then you have to try Dolly’s at the basement floor for a rather lovely (if a bit noisy) tea and cupcakes. I however decided to get something on-the-go, and where better than the Food Garden Cafe (4rth floor) to do that?

Greeted from a lovely hostess and with a tray in hand, I was absolutely spoiled for choice:
from the kebabs and curries of Tiffin Bites (Indian and Middle Eastern specialities), to the dim sum and stir fries of Ekachai (Thai and Chinese specialities); and from the signature American-style burgers at Frankies, to the classic British grub.
You can get your healthy treat at the Energy Kitchen (and for the little ones at the Annabel Karmel), and you unhealthy ones at the Crepes and Jacket Potatoes stall. You then compliment your meal with a hot or cold beverage, get the necessary cutlery and pay at the tills.

As there is nothing better than a hot soup on a cold day like today, I made mine a leak and potato one, and got a side of salted pretzels and a vitamin water (I was very proud of myself for being moderately healthy, new years resolutions still intact). I found a seat, and as I was about to dig in, I felt this amazing sense of calm. I know it sounds strange, but right in the middle of the busiest shopping street, on the top floor of the busiest shopping department store, you can feel like you are escaping the world for these few necessary moments of recharging.

After thoroughly enjoying my meal, I gave in to the temptation and went to my favourite floors.

So, if you are walking down Oxford Street and are in need of some good quality, fast served food, then Selfridges is your destination!

Love,

G

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