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Travel

24 hours later

and finally here….

I read somewhere that the most looked up word in on-line dictionaries for 2016 was “surreal.”  I assume that was because of media commentary on the election. I, however, have the perfect use for that term, when trying to describe the 6/7th of January.

It started with a ride on the C train from Brooklyn to Penn Station. I stood next to three cops in full outfit, guns, cuffs and all. They complained that they were newly required to report each day about something that they had done well. One of them suggested that he had brought in a P&J sandwich instead of buying lunch. The led to a fervent discussion of the relative merits of jelly, jam and Nutella. It was agreed that Nutella is only favored by Italians. Our finest in blue.

The airport screeners confiscated my nifty nose spray. Terror comes from saline squirting crones….

Maybe next time I’ll fly with the birds. 

Waiting for my flight at Newark I sat in a restaurant with TV’s blaring the news about the Ft. Lauderdale shooting. At the table next to me was a father with 7 year or so son. He instructed the kid to dive under the table in case a man with a gun would come shooting. The kid did not even look up from his gameboy-Ninja-fighting.

Halfway into the flight, being seated, wouldn’t you know it, right next to the restrooms, a man keeled over in front of me, fainting. A paramedic and a doctor traveling tended to him, but they also brought this contraption with a long line and earphones from the cockpit, so a doctor on the ground could converse with the attending medic. It was pretty dramatic, but he was able to be helped back to his seat after a while.

Arriving in Amsterdam my connecting flight was canceled due to bad weather. Luckily I was dressed for it. (Just kidding.)

 

No flight to be had. It was to be the train across borders. I insinuated myself into the first-class lounge which has WIFI, with the sad tale of canceled flights and overseas travels. I guess looking like hell made them feel sorry for me.

The train ride took almost a third longer than the supposed 6 hour and could not stop at all stations due to downed trees from black ice. The minute we had crossed the border from Holland into Germany (with the 1995 Schengen agreement having gotten rid of border controls) the police entered the train and required passports from every non-white in sight. They took two people off the train immediately. Maybe they feed them Nutella.

Maybe next time I’ll send my self in a bottle.

 

S u r r e a l

Post, poles and pilings

Time to get back to man-made structures – and also time to don some pink glasses to persuade ourselves the world is not all dark and grey….. this week I am rummaging through the archives for poles of all sorts. Fence posts, telephone and utility poles, barber poles, you get the idea.

 

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We start with the pink of Venice, found in its lamp posts, in its pilings, in rain spouts (a kind of post, sort of….)

Venice was the first European city to provide public street lighting. Doge Domenico Michiel decreed in 1128 that every night small lamps would be lit at shrines, gondola stops and intersections around the city at state expense in order to improve public safety and combat night time crime. The pink glass you see now in most of the Venetian street lights was originally more of an amethyst color, the natural color of the glass produced at Murano.

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Pink has clearly become a preferential color, complimented by azur skies, or grey clouds, depending on the season.

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Cheerful, in any case, as long as you don’t think about Venice’s ultimate fate….as already described some 20 years ago

http://www.independent.co.uk/life-style/bickering-while-venice-sinks-1316639.html

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Wells

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With the monster storm upon us today, let’s think about clean water…..

Portland has a number of beautiful and pragmatic water features. I count all those drinking fountains among them, but also the fountain across the Keller auditorium, the fountains along the promenade that bring so much fun to kids of all ages, the new water works at Director Park smack in the middle of downtown and Jamison Square in the Pearl. Then there are the water features at both the Japanese and the Chinese Gardens, wildlife included.

dsc_0612 dsc_0341img_4714European cities boast tremendous fountains as well, either in parks, or as part of architectural design – many of them hundreds of years old. I want to direct attention, though, to the less famous and less visible sources of water in European cities: wells and water pumps.

 

Not only are they beautiful, and often lovingly decorated, they are also still in use. Many of them are equipped with angels – clearly having clean water was a heavenly gift and appreciated as such.dsc_0936

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And sometimes you find real art: img_4562

Other times, real functionality:

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Fishing Holes

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Water, water everywhere and lots of drops to drink: drops of Vodka, that is…… after a full day’s fishing and a gourmet meal prepared by world class chefs. All it takes is a love for Atlantic salmon fishing, a mere $15.000 spare change (BEFORE the plane ticket to Murmansk), and a flair for some kind of luxurious roughing it.

https://www.washingtonpost.com/lifestyle/travel/on-a-remote-russian-peninsula-one-of-the-worlds-most-celebrated-atlantic-salmon-fisheries/2016/10/06/1802036e-8430-11e6-ac72-a29979381495_story.html?wpisrc=nl_rainbow-nonsub&wpmm=1

And yet: I get it – I believe the thrill of “catching” something is no different in photography. I just don’t have to worry about getting the hooks out of my prey to release it again.  What I don’t get is the elitism that comes with these exclusive communities, even though they proudly claim that they bring jobs and foreign currency to poor regions. That’s what they said for all those safaris as well, before they hunted big game practically to extinction.

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A worry closer to home: lots of people do fish the Willamette, the Columbia and the sloughs even during times when there is a health warning. For them it’s obviously not thrilling the angler, but filling the belly. img_6153

And of course these guys will do the rest….and-baby-makes-three-copy

On my way home

· Washington, D.C. ·

Time to return home from my imaginary travels, but not without a layover in Washington D.C. The African American Museum will be opening soon, after what, 100 years in the making?

http://www.npr.org/2016/09/15/493909656/mission-of-african-american-museum-writ-large-in-its-very-design

The building looks spectacular, from what I can discern in the various articles published about it. The external, intricate ironwork that forms a diaphanous lattice reminds me of the Institut du Monde Arabe in Paris – that museum is stunning as well.

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Here are some critical thoughts by expert Mario Gooden, a principal of Huff + Gooden Architects and a professor of practice at the Graduate School of Architecture, Planning and Preservation (GSAPP) of Columbia University where is also the co-director of the Global Africa Lab (GAL), to be contemplated after the intense days of the opening are over.

http://www.averyreview.com/issues/6/african-american-museums

I chose portraits of the next generation, the treasures among us, for today’s features – may they grow up into a world that sees ever diminishing racism.

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London Calling

· London, GB (and the website is still not working to notify properly - patience!) ·

Back on a plane to London to make it for what looks like a fascinating conference on architecture and art, both of which I like to photograph, of course.

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Chicago

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Berlin

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NYC Highline

https://www.friezearchitecture.com/home

How can you not be curious about a conference announcement that describes the meeting location, London’s Royal College of Physicians, as a spectacular example of British Brutalism? The array of speakers is promising and a year that has seen the passing of some stellar architects, I’m thinking Dame Zaha Hadid, for example, calls for deeper understanding of the subject.

Since I won’t have much time for the city per se, I’ll check out the treasure trove of the best photographs of London here:

http://www.timeout.com/london/art/the-40-best-photos-of-london-ever-taken

And then off to Alison Jacques for the Dorothea Tanning exhibit. I adore this woman from afar, a self taught artist, who managed not to be oppressed in her long marriage to Max Ernst (he divorced Peggy Guggenheim), a painter who took up writing poetry in her eighties. She was born in a small town in Illinois, moved around the country, then around the world, a global citizen. Held her own amongst the luminaries of the day, including Ernst, of course, Man Ray, Henri Cartier-Bresson and Dylan Thomas. I was artistically influenced by Ernst, Becker-Modersohn and Nolde – but if I had to chose a life to emulate, it would be one like Tanning’s.

http://www.timeout.com/london/art/dorothea-tanning

One of my earliest montages contains her portrait set against Ernst, whose misogynist work Une semaine de bonté I was fascinated with at the time. If you look closely you’ll find her portrait twice (once as a warrior) and his portrait once (about to be pecked by the strutting rooster) in the montage.une-semaine-de-bontemax-ernst

 

Boarding for Berlin

· Berlin, Germany ·

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 Northern Chile, 1975

If I hurry, I’ll make it in time to Berlin to attend a concert with music by some of my favorite composers. The Berliner Festspiele/Musikfest Berlin had a line-up that would have had me there for almost every offering. Since I was still in Melbourne (theoretically,) I missed the concert last Monday that everyone talks about: Homage à Pierre Boulez played by Tamara Stefanovich and Pierre-Laurent Aimard on 2 pianos.

But I will, must make it to this one: http://www.berlinerfestspiele.de/en/aktuell/festivals/musikfest_berlin/mfb16_programm/mfb16_programm_gesamt/mfb16_veranstaltungsdetail_160365.php

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My collection has grown

https://www.youtube.com/watch?v=aDQE82ElyJg  Zappa

From the catalogue: “I used to love putting little black dots on music paper”, wrote Frank Zappa in an accompanying text for a new edition of works by composer Edgard Varèse. Falling under the guise of self-deprecating understatements, it only serves to cache the ambition that always drove Frank Zappa. The striving for recognition of his compository qualities, which he initially lived out in his rock music with a high degree of complexity while posing equally high demands on the playing technique of his musicians. Indeed, it all began with the record in question. It bore the number EMS 401 – and the title: “The Complete Works of Edgar Varèse, Vol. I”. And the cornerstone for a passion was thus laid, which accompanied him through to his death in 1993 at the age of only 53. Many people still regard this great ethnographer of American everyday life exclusively as a rock star – presumably because Asteroid 3848 is named after him. Yet as a gesture of genuine estimation it would be wise to forgo categorizations and other thought short-circuits. Blues and the music of experimental composer Edgard Varèse, jazz improvisations and pop platitudes all fused together in his vision of a new rock
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Imagine a lonely teenager stuck in a small German village, with the only pop radio station in the 60s that was available playing Abba and the Kinks, or some such. And then you discover Zappa, listening to the same record night and day, exploring musical genius and rebellious politics and parallels to so much classical music you had to rehearse on the piano for a decade or more (unless you are playing the darn cello for the dreaded family concerts….). And no one around you gets it. Proof, if still needed, that you’re weird. I’m still weird and I’m still traveling, but now public assessment of Zappa’s talent has caught up.
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Gathering (a different kind of) clouds

· Seoul, Korea ·

Having traveled East I might as well stop by Korea. South Korea, that is, of course. Wouldn’t want to interfere with the next nuclear test ride further to the North….

Never been to Seoul. But this exhibit seems worth it – called Gathering Clouds.

http://www.randian-online.com/np_event/anish-kapoor-wook-kyung-choi-exhibition-kukje-gallery-in-seoul/

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You have seen Kapoor’s work – cloud gate –  in Chicago, at the Tate Modern, or, if you’re lucky, last year in Versaille. An enormous installation by all reports, I wasn’t there, alas.

http://en.chateauversailles.fr/news-/events/exhibitions/kapoor-versailles

I have sometimes thought that one kind of reflectiveness of his work – the actual interaction with light – often overshadows (pun intended) the other kind of reflectiveness, the subtleness contained in his sculptures.

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My own take on silver(lining) and clouds has as one ingredient the meat grinder and other machines used for the production of the Olympia Provisions delicacies. They commissioned me some time back to photograph their facilities for food production and those montages can be seen at their Northwest Thurman St. restaurant. Now I am combining them with landscapes.

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In Pursuit of Clouds

· Amsterdam, London, St. Petersburg ·

The 17th century painter Jacob van Ruisdael could paint clouds like few before or after him. I’d like to hop around to three cities to look at his paintings in the respective collections of the National Gallery in London (20), the Rijksmuseum in Amsterdam (16), and the Hermitage in St. Petersburg (9) – where I have never been.

Van Ruisdael has lately been picked up again by many an art critic with the acknowledgment  that he was for some time underrated. People nowadays are effusive in their praise, and imaginative in their interpretations of his work.

The Guardian art critic Waldemar Januszczak wrote in 2006:”Ruisdael really doesn’t deserve to be underrated. ..[H]e was a prodigy whom we should rank at number 8 or 9 on the Mozart scale.”  The link below shows some of his famous cloud paintings.  http://www.ecology.com/2014/04/09/quintet-cloudscapes-jacob-isaackzs/

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Jacob van Ruisdael c. 1628 Mountainous Landscape (Hermitage, St. Petersburg)

I am adding photographs of cloud-scapes taken in Holland, his home turf, in the vicinity of Egmond aan Zee.

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The Shore at Egmond-aan-Zee, c. 1675,
Jacob van Ruisdael, The National Gallery, London

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And since we are fantasizing, once in St. Petersburg I would hitch a ride on the Trans-Siberian train to China – since the next stop on the exhibition circuit will be Korea.

Imaginary Journeys

· St. Gallen, CH ·

So far I have not been able to travel abroad this year. For those who know me that is a first, given my passion for journeys. So this week I am imagining the trips I’d take if given carte blanche in the next several month, with a focus on exhibits that triggered my curiosity.

I would start with Switzerland, St. Gallen to be precise, for a show fitting with the apocalyptic visions of this fall. Then a little detour to the village of Lenzerheide, where I learned to ski as a child, to hike through alpine meadows which are filled with mauve gentians and the pink autumn crocus until the end of October.

THE DARK SIDE OF THE MOON

THE ABYSMAL IN ART

FROM ALBRECHT DÜRER TO MARTIN DISLER

July 9th – October 23nd 2015, Kunstmuseum
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“See you on the dark side of the moon …” is a lyric from the legendary concept album by the British rock band Pink Floyd, which has remained a best-seller since its appearance in 1973. Thematically, the work revolves around the abysses of being human, around the anonymous power structures to which individuals in today’s society are subjected. Beyond the social circumstances in the sense of Mark Twain’s quotation “Everyone is a moon, and has a dark side which he never shows to anybody,” the dark side of the moon also points to existential dark sides.

Both form the crux of this thematic exhibition centered around a unique series of sculptures and large-scale installations by the legendary Swiss artist Martin Disler (1949–1996). These are surrounded by groups of impressive and uncanny works by Damien Deroubaix, Jutta Koether, Mona Hatoum, and Josef Felix Müller, among others. The contemporary pieces are augmented with works by old masters: the important Apocalypse series of woodcuts by Albrecht Dürer (1471–1528) and Les Grandes Misères de la guerre by Jacques Callot (1592–1635), which reveal an impressive panorama of social rejection and human abysses in dialogue with contemporary works across centuries.Curators: Konrad Bitterli and Matthias Wohlgemuth.” This intro from their catalogue does sound intriguing, doesn’t it? 
http://www.kunstmuseumsg.ch/unser-programm/aktuelle-ausstellungen/uebersicht.html
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