13 December 2008
12 December 2008
11 December 2008
10 December 2008
Olivier Messiaen : 100th anniversary today
.
In 1988 France's gift to the people of Australia, for our bicentenary celebrations of Captain Phillip's 1788 arrival with the First Load of Prisoners, was Olivier Messiaen. He came to attend concerts of his music, given in his honour, and for his own interest to hear and observe the Lyre bird.
On Saturday 28 May 1988, Messiaen attended a performance of his Quartet for the End of Time at Melba Hall, Melbourne Conservatorium. To get a good seat, your correspondent arrived hours early, with a book to read. Had he known there would be an on-stage interview with the composer he would also have brought drawing materials. To record the event, therefore, he had just a jotting pencil and a small white paper bag used for a bookmark. It had contained a gift from Joy: three trout flies, and their names written in blue. White Moth, Red Tag, Royal Coachman.
After the concert, the master generously also added his own name (down the left side).
There was discussion of course about the famous circumstances of the composition and first performance of Quartet for the End of Time, given by Messiaen and fellow prisoners to an audience of prison-camp companions and their Nazi guards.
Also discussed was Messiaen's relation to birds and bird song. As noted on the drawing, he said of St Francis, "As he preached to the birds, I thought he was a colleague."
When the all-sounds song of the Lyre bird was teased at by the questioner, with what seemed to me possibly a secondary shot at postmodern practitioners - the word "stealing" was used - Messiaen took offence. If not for himself then on behalf of this unique bird whose practice seems so much like his own. "No bird steals another bird's song", he protested. "It's a lie. It's a transcription!" (You, not the Lyre, are the liar.)
It is known that in the following days Messiaen did encounter Lyre birds in song and dance at Sherbrook Forest, outside Melbourne. He made notations of their songs in his journal, as he had done for many decades, and these he later incorporated into his final composition, Éclairs sur l'au-delà…. (Illuminations on the beyond…). The third movement of this 11 movement work is
L’Oiseau-lyre et la Ville-fiancée (The lyre bird and the bridal city).
For 61 years Messiaen was the titular organist at Église de la Sainte-Trinité, Paris. Shortly after Messiaen's visit to Melba Hall, your correspondent visited Paris for the first time. One Sunday morning he attended several masses at La Trinité in the hope that Messiaen might play the organ. No such luck, but some Messiaen work was played. A great thrill. (photo by PT)
In 1992 Christine and I were living in Berlin. On Good Friday we attended the service and organ recital at Alte Dorfkirche, Zelendorf.
As this drawing records, the first piece was by Mendelssohn, the second by Bach and the third by Messiaen, Combat de la mort et de la vie, part four of Les Corps glorieux (Glorious Bodies) of 1939. Ten days later, on 27 April 1992, Messiaen died.
A month after, a concert of remembrance was given in his honour at the Franzosische Friedrichstadtkirche, home of the French Reform Church. A work by Bach, then Messiaen's nine part meditation for organ La Nativité du Seigneur (The Nativity of the Lord) of 1935. As the final sustained chord ended and faded away a blackbird could clearly be heard singing, outside, in the evening light, beyond the stained glass.
That's the obvious point to end this. However, given the present plight of the Australian National Academy of Music (ANAM), one more recollection. Of a wonderful wintry Friday night in Melbourne earlier this year. Of leaving a packed MCG at three quarter time, with the Magpies unexpectedly thrashing the Cats, and rushing through the Fitzroy Gardens to St Patrick's Cathedral for a 10pm start of Messiaen's great piano cycle Vingt regards sur l'enfant-Jésus (Twenty views of the child Jesus) performed on a (Southern) cross of pianos by Michael Kieran Harvey and a team of pianists from the Australian National Academy of Music. Of stepping back into the Melbourne chill at 1.15am, totally exhilarated.
In 1988 France's gift to the people of Australia, for our bicentenary celebrations of Captain Phillip's 1788 arrival with the First Load of Prisoners, was Olivier Messiaen. He came to attend concerts of his music, given in his honour, and for his own interest to hear and observe the Lyre bird.
On Saturday 28 May 1988, Messiaen attended a performance of his Quartet for the End of Time at Melba Hall, Melbourne Conservatorium. To get a good seat, your correspondent arrived hours early, with a book to read. Had he known there would be an on-stage interview with the composer he would also have brought drawing materials. To record the event, therefore, he had just a jotting pencil and a small white paper bag used for a bookmark. It had contained a gift from Joy: three trout flies, and their names written in blue. White Moth, Red Tag, Royal Coachman.
After the concert, the master generously also added his own name (down the left side).
There was discussion of course about the famous circumstances of the composition and first performance of Quartet for the End of Time, given by Messiaen and fellow prisoners to an audience of prison-camp companions and their Nazi guards.
Also discussed was Messiaen's relation to birds and bird song. As noted on the drawing, he said of St Francis, "As he preached to the birds, I thought he was a colleague."
When the all-sounds song of the Lyre bird was teased at by the questioner, with what seemed to me possibly a secondary shot at postmodern practitioners - the word "stealing" was used - Messiaen took offence. If not for himself then on behalf of this unique bird whose practice seems so much like his own. "No bird steals another bird's song", he protested. "It's a lie. It's a transcription!" (You, not the Lyre, are the liar.)
It is known that in the following days Messiaen did encounter Lyre birds in song and dance at Sherbrook Forest, outside Melbourne. He made notations of their songs in his journal, as he had done for many decades, and these he later incorporated into his final composition, Éclairs sur l'au-delà…. (Illuminations on the beyond…). The third movement of this 11 movement work is
L’Oiseau-lyre et la Ville-fiancée (The lyre bird and the bridal city).
For 61 years Messiaen was the titular organist at Église de la Sainte-Trinité, Paris. Shortly after Messiaen's visit to Melba Hall, your correspondent visited Paris for the first time. One Sunday morning he attended several masses at La Trinité in the hope that Messiaen might play the organ. No such luck, but some Messiaen work was played. A great thrill. (photo by PT)In 1992 Christine and I were living in Berlin. On Good Friday we attended the service and organ recital at Alte Dorfkirche, Zelendorf.
A month after, a concert of remembrance was given in his honour at the Franzosische Friedrichstadtkirche, home of the French Reform Church. A work by Bach, then Messiaen's nine part meditation for organ La Nativité du Seigneur (The Nativity of the Lord) of 1935. As the final sustained chord ended and faded away a blackbird could clearly be heard singing, outside, in the evening light, beyond the stained glass.
That's the obvious point to end this. However, given the present plight of the Australian National Academy of Music (ANAM), one more recollection. Of a wonderful wintry Friday night in Melbourne earlier this year. Of leaving a packed MCG at three quarter time, with the Magpies unexpectedly thrashing the Cats, and rushing through the Fitzroy Gardens to St Patrick's Cathedral for a 10pm start of Messiaen's great piano cycle Vingt regards sur l'enfant-Jésus (Twenty views of the child Jesus) performed on a (Southern) cross of pianos by Michael Kieran Harvey and a team of pianists from the Australian National Academy of Music. Of stepping back into the Melbourne chill at 1.15am, totally exhilarated.
09 December 2008
Paradise Lost (illustrated)
.
Today is the 400th birthday of John Milton
(9 December 1608 – 8 November 1674).
From the heap, these PT drawings circa 1973, spun loosely on a few lines from Paradise Lost, Books 1-4.
1/27
Say first, for Heav'n hides nothing from thy view
1/602
Sat on his faded cheek, but under Browes
2/308
Drew audience and attention still as Night
2/422
In others count'nance red his own dismay
2/667
If shape it might be call'd that shape had none
2/864
Thou art my Father, thou my Author, thou
My being gav'st me; whom should I obey
But thee, whom follow?
3/1
Hail holy light, ofspring of Heav'n first-born
3/48
Presented with a Universal blanc
3/63
The radiant image of his Glory sat
3/334
The World shall burn, and from her ashes spring
New Heav'n and Earth, wherein the just shall dwell
3/684
Invisible, except to God alone
4/1
O For that warning voice, which he who saw
4/246
But rather to tell how, if Art could tell
4/358 (above)
O Hell! what doe mine eyes with grief behold
4/462 (below)
Bending to look on me, I started back,
It started back, but pleasd I soon returnd
Today is the 400th birthday of John Milton
(9 December 1608 – 8 November 1674).
From the heap, these PT drawings circa 1973, spun loosely on a few lines from Paradise Lost, Books 1-4.
1/27
Say first, for Heav'n hides nothing from thy view
1/602
Sat on his faded cheek, but under Browes
2/308
Drew audience and attention still as Night
2/422
In others count'nance red his own dismay
2/667
If shape it might be call'd that shape had none
2/864
Thou art my Father, thou my Author, thou
My being gav'st me; whom should I obey
But thee, whom follow?
3/1
Hail holy light, ofspring of Heav'n first-born
3/48
Presented with a Universal blanc
3/63
The radiant image of his Glory sat
3/334
The World shall burn, and from her ashes spring
New Heav'n and Earth, wherein the just shall dwell
3/684
Invisible, except to God alone
4/1
O For that warning voice, which he who saw
4/246
But rather to tell how, if Art could tell
4/358 (above)
O Hell! what doe mine eyes with grief behold
4/462 (below)
Bending to look on me, I started back,
It started back, but pleasd I soon returnd
08 December 2008
The Actor of Looking : regarding theorin, the act of looking & some unwritten thoughts on theoria
.
These images are scanned from this weekend's Review section of The Weekend Australian; from the article TIME OUT by Christopher Allen.
The paper edition presents the image as a diptych, spread and divided across the fold between pages. The online version shows only the left side of the scene, thus omitting the focus of these formal onlookers - The Actor of Looking.
These images are scanned from this weekend's Review section of The Weekend Australian; from the article TIME OUT by Christopher Allen.
The paper edition presents the image as a diptych, spread and divided across the fold between pages. The online version shows only the left side of the scene, thus omitting the focus of these formal onlookers - The Actor of Looking.
bLOGOS/HA HA does not know if The Golden Guillotine had any involvement with this particular tableau and promotion. Suffice to say, it bears all the signs.
04 December 2008
WEST SPACE A4 Art 2008 Fundraiser
.
The WEST SPACE A4 Art 2008 Fundraiser is an opportunity to purchase significant works from as little as $150 while providing invaluable support to one of Australia’s most determined and longest running artist led organisations.
opens 5pm Thursday 4th December! and continues until Sunday 7 December.
CLICK HERE for list of participating artists, opening hours etc
West Space
Level 1, 15 - 19 Anthony Street
Melbourne, Vic, 3000, Australia
+61 3 9328 8712
info@westspace.org.au
The WEST SPACE A4 Art 2008 Fundraiser is an opportunity to purchase significant works from as little as $150 while providing invaluable support to one of Australia’s most determined and longest running artist led organisations.
opens 5pm Thursday 4th December! and continues until Sunday 7 December.
CLICK HERE for list of participating artists, opening hours etc
West Space
Level 1, 15 - 19 Anthony Street
Melbourne, Vic, 3000, Australia
+61 3 9328 8712
info@westspace.org.au
03 December 2008
02 December 2008
Work of the Golden Guillotine
.
The two images featured recently in the ARToLOGOS/HA HA post are details from a pair of banners displayed earlier this year at the National Gallery of Victoria. In a strange and complex metaphor they echo the heraldic supporters depicted in the Coat of Arms of Victoria crested above the archway portal.
In the 40 years since the NGV was re-established in the new St.Kilda Rd building many incidents 0f art, protest and prank have happened around its forecourt.
Still the most famous of these, in 1975 artist Ivan Durrant deposited a freshly slain cow there.
The same year, Melbourne artists held a protest meeting and presented their grievances with the gallery inside the water wall foyer.
Drumming up a Crowd : In 1981 ARTCIRCUS beat drums, wore placards [SCREAMING TEENS MOB PAINTINGS] and played cassettes of crowd sounds as a Chinese political delegation made a formal visit to the oddly titled "A Century of Modern Masters: The Art Experience of the Decade"
In 1984 the centre panel of the glass 'water wall', at that time hosting a mural by Keith Haring, was smashed and a giant image of a block-headed bird hovering over flames was sprayed on the paving in front of it.
In 2004 a day of protests by the free pencil movement, which culminated in a mass sketch-in at the blockbuster Edvard Munch exhibition, produced an urgent meeting of the Trustees and a review of visitor restrictions.
(More about this event...)
Site of constant contest. On and on. Inside and out. Here's Patrick Jones' 2006 intervention "Homage to Duchamp" [I DO IT TO AMUSE MYSELF] to the backdrop of the NGV's own double Dutch Masters facade.
bLOGOS/HA HA now believes that the two 2008 'someone looks at something' banners were yet another such NGV counter- activity. A straight-faced farce committed from within, these banners are part of the counter-tradition that certainly includes the 1917 submission by R.Mutt of a urinal titled “Fountain” to a panel of Art Judges, and which continues through to present times with The Chaser's war on Everything 2007 APEC motorcade and, last month, the publication and distribution by the YES MEN of 1.2 million copies of an alternate New York Times, as they would like to see it. (More...)
bLOGOS/HA HA believes the banners are the work of The Golden Guillotine, an underground collective of radical artists and culture jammers who, over a period of years, have infiltrated the staff of the NGV. Thus embedded, this cell has then persuaded an unsuspecting hierarchy to fully implement its promotional parody.
Reading the banner imagery, bLOGOS/HA HA imagines a Golden Guillotine brainstorming session, much in the manner of a Gruen Transfer challenge...
“...OK. Seventeenth Eighteenth Nineteenth century. So... SEX and we call it ART! Yes? (laughter) For the blokes, how about this? (Passes around newspaper article with picture of stage-lit pouting 'Grasshoper' being 'unveiled' at NGV surrounded by shadowy men.)
Chloe’s sister and all that crap. Incredible! (laughter) What else? Blue for boys, pink for girls? OK. We’ll give him a blue jumper and blue jeans.
Blokes like to look, right - male gaze and all that - and males are supposed to be the logical ones, so let’s put The Thinker on one side and underline the idea with a Wall Label on the other. Should make it look all very serious. (laughter)
For the females, let’s go with ‘caring and compassionate’. How about a mature woman, in a mature-pink jumper, looking at a mature, hopeless, impotent, naked man. Coy Girl has removed her curtain so maybe for the other we should gird the loins. What have we got like that? (looking through images) Here’s one. Naked but not, noble and hard done by. Lit from above by God. See, one hand pleads in vain to heaven and with the other... if we put the woman there (gestures)... he reaches out to her. Perfect! No Label, no Thinker. All heart and fire, right? (laughter)”
Perhaps it was nothing like that. What is certainly clear is that each of the tableaux features a massive golden frame : signature and code for Work of the Golden Guillotine.
It seems unlikely the NGV will acknowledge the subterfuge.
The two images featured recently in the ARToLOGOS/HA HA post are details from a pair of banners displayed earlier this year at the National Gallery of Victoria. In a strange and complex metaphor they echo the heraldic supporters depicted in the Coat of Arms of Victoria crested above the archway portal.
In the 40 years since the NGV was re-established in the new St.Kilda Rd building many incidents 0f art, protest and prank have happened around its forecourt.
Still the most famous of these, in 1975 artist Ivan Durrant deposited a freshly slain cow there.
The same year, Melbourne artists held a protest meeting and presented their grievances with the gallery inside the water wall foyer.
Drumming up a Crowd : In 1981 ARTCIRCUS beat drums, wore placards [SCREAMING TEENS MOB PAINTINGS] and played cassettes of crowd sounds as a Chinese political delegation made a formal visit to the oddly titled "A Century of Modern Masters: The Art Experience of the Decade"
In 1984 the centre panel of the glass 'water wall', at that time hosting a mural by Keith Haring, was smashed and a giant image of a block-headed bird hovering over flames was sprayed on the paving in front of it.
In 2004 a day of protests by the free pencil movement, which culminated in a mass sketch-in at the blockbuster Edvard Munch exhibition, produced an urgent meeting of the Trustees and a review of visitor restrictions.
(More about this event...)
Site of constant contest. On and on. Inside and out. Here's Patrick Jones' 2006 intervention "Homage to Duchamp" [I DO IT TO AMUSE MYSELF] to the backdrop of the NGV's own double Dutch Masters facade.
bLOGOS/HA HA now believes that the two 2008 'someone looks at something' banners were yet another such NGV counter- activity. A straight-faced farce committed from within, these banners are part of the counter-tradition that certainly includes the 1917 submission by R.Mutt of a urinal titled “Fountain” to a panel of Art Judges, and which continues through to present times with The Chaser's war on Everything 2007 APEC motorcade and, last month, the publication and distribution by the YES MEN of 1.2 million copies of an alternate New York Times, as they would like to see it. (More...)
bLOGOS/HA HA believes the banners are the work of The Golden Guillotine, an underground collective of radical artists and culture jammers who, over a period of years, have infiltrated the staff of the NGV. Thus embedded, this cell has then persuaded an unsuspecting hierarchy to fully implement its promotional parody.
Reading the banner imagery, bLOGOS/HA HA imagines a Golden Guillotine brainstorming session, much in the manner of a Gruen Transfer challenge...
“...OK. Seventeenth Eighteenth Nineteenth century. So... SEX and we call it ART! Yes? (laughter) For the blokes, how about this? (Passes around newspaper article with picture of stage-lit pouting 'Grasshoper' being 'unveiled' at NGV surrounded by shadowy men.)
Chloe’s sister and all that crap. Incredible! (laughter) What else? Blue for boys, pink for girls? OK. We’ll give him a blue jumper and blue jeans.
Blokes like to look, right - male gaze and all that - and males are supposed to be the logical ones, so let’s put The Thinker on one side and underline the idea with a Wall Label on the other. Should make it look all very serious. (laughter)For the females, let’s go with ‘caring and compassionate’. How about a mature woman, in a mature-pink jumper, looking at a mature, hopeless, impotent, naked man. Coy Girl has removed her curtain so maybe for the other we should gird the loins. What have we got like that? (looking through images) Here’s one. Naked but not, noble and hard done by. Lit from above by God. See, one hand pleads in vain to heaven and with the other... if we put the woman there (gestures)... he reaches out to her. Perfect! No Label, no Thinker. All heart and fire, right? (laughter)”
Perhaps it was nothing like that. What is certainly clear is that each of the tableaux features a massive golden frame : signature and code for Work of the Golden Guillotine.
It seems unlikely the NGV will acknowledge the subterfuge.
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