El Anatsui – art made from bottle tops

I’ve been dying for a while to see the work of El Anatsui, a Ghanaian sculptor active for much of his career in Nigeria, who has drawn particular international attention for his iconic “bottle-top installations”—huge sheets of metallic ‘textile’ made of thousands of pieces of aluminium sourced from alcohol recycling stations and sewn together with copper wire.
Photographs of these have intrigued and inspired me, but because they are three-dimensional works with a lot of texture, photos cannot even begin to compare with seeing them ‘live’.
At the moment six of these works are exhibited at the Conciergerie in Paris, and a visit there exceeded my expectations.  A former royal residence open to the city, the Conciergerie has had many uses over the centuries, including becoming a detention centre under the Terror.
Under the medieval vaults of the Salle des Gens d’armes (Hall of the Soldiers—the 14th-century refectory of the French King’s officers), El Anatsui has produced a poetic installation introducing five natural elements: water, wind, wood, metal and stone. He calls the installation  “En quête de liberté” (Seeking freedom)
Besides the six metallic sculptures, using textile and video projection, he has conjured up a reproduction of the Seine, as if two of its arms run through the chamber on old railway sleepers, reflecting the images of waves traversed by the sun.
The sculptures, made from bottle tops and strips of flattened tin cans, hang in the fireplaces. I have taken some detail photos to show the texture, but the actual experience defies description.

Born in Ghana in 1944, El Anatsui creates objects based on traditional Ghanaian beliefs, and is interested in the destruction, transformation, and regeneration of everyday objects. Very few artists make it to the top while living outside metropolitan centres, but El Anatsui has conquered the planet while living and working in the Nigerian university town of Nsukka.
Being overawed by the endless patience it takes to construct these sculptures, as well as the vision necessary to design work on such a large scale, I became curious to see what his methods of production were. I came upon the following fascinating video:

The Morozov art collection

It was a great treat to visit the Morozov Collection at the Louis Vuitton Foundation in Paris. The show, presented for the first time outside Russia, includes some 300 impressionist, post-impressionist and expressionist masterpieces amassed at the turn of the 20th century by the vastly wealthy Russian brothers Mikhail and Ivan Morozov,  before being swept away by the Russian Revolution.

 

Paul Gauguin

The brothers, born in 1870 and 1871 respectively, were the great-grandsons of a serf. With five rubles from his wife’s dowry, their ancestor set up a ribbon workshop, which he developed into a factory, and bought his family’s freedom. In a few generations, the family became wealthy, philanthropic industrialists.

 

Edvard Munch

Besides being fabulously wealthy, the brothers had very avant garde tastes, and built up the stunning collection which includes works by Russian as well as French artists. At the turn of the last century, the upper social echelon in Russia spoke French and the Morozov brothers created their collection on the advice of Parisian dealers such as Paul Durand-Ruel and Ambroise Vollard. Mikhail, who died prematurely from a heart attack at the age of 33, discovered Bonnard’s work in Paris and acquired the first paintings by Gauguin to enter Russia.

 

Picasso from the Rose period

His brother Ivan took over the family business, abandoning his dreams of becoming a painter, and kept adding more French impressionists, post-impressionists and Fauvists to the collection, his favourite artist being Cézanne. In 1912, he commissioned Bonnard to decorate the staircase of his opulent Moscow residence, resulting in wonderfully luminous panels.

 

At the same time, he became close to Russian artists of his generation who advised him on his acquisitions and contributed their own works to the collection. I discovered with great pleasure and admiration the lovely portraits by Valentin Sérov, a painter I did not know.

 

Valentin Sérov


In a twist worthy of fiction, it all ended with the Communist revolution of 1917 in Russia. Ivan was reduced to being ‘assistant curator’ of his own collection and his home became a state museum.

 

Claude Monet

In 1918, the Morozov manufacturing company, whose real estate value was estimated at 26 million rubles, was taken over by the state and later that year the collection of artworks was nationalised by official decree.

 

Matisse

In the summer of 1919, Ivan and his family secretly crossed the border to Finland and then emigrated to Switzerland. He died in Germany at the age of 49.

 

Van Gogh


When the Nazis invaded Russia in 1941, the paintings were sent to be hidden in the Ural Mountains, where they stayed fairly well-preserved by temperatures that often fell to -40 degrees.

 

Bonnard

It wasn’t until 1950s that the Soviet government decided to redistribute them among the Hermitage, Tretyakov and Pushkin museums.

 

Bonnard. The visitors give an idea of the scale of the work

One of the most unexpected paintings in the exhibition is Vincent Van Gogh’s The Prison Courtyard (1890), which he made while in the Saint-Rémy-de-Provence psychiatric hospital. The artist’s brother Theo had sent him a photograph of Gustave Doré’s drawing of a London prison’s courtyard which Van Gogh reinterpreted into a primarily greenish blue-hued painting, the conditions of the prisoners echoing his own

And finally, two more portraits, a self portrait by Alexander Golovine,

and a portrait of Ivan Morozov by Valentin Serov, which features one of his paintings by Matisse in the background.

A repeat visit

It’s so lovely to be able to go to shows and museums again, albeit still with masks on. And let’s hope we will not be shut in again…

For now, though, on a hot and windy day in Athens, I took the opportunity to revisit the Eliza and Basil Goulandris Foundation, a museum about which I have written before.(here).

The couple’s collection is so extensive that it would take multiple museums of this size for everything to be exhibited at once, so there is a certain amount of rotation. It was an opportunity to see some new works as well as to bask in admiration of jewels such as this dreamy still life by Gaugin. The colours glow even in my moderate  iPhone photo. 

 

Gauguin, Bowl of grapefruit

I’m also posting a few different photos this time.

A large sculpture be Igor Mitoraj, in bronze with a brown patina, called Luci di Nara.

 

 

Two lovely jade reindeer from  the 17th-century Ming Dysnasty.

 


Some cool drawings by Francesco Clemente, always a favourite.

 

 

A sculpture by Barbara Hepworth.

 

 

An interesting monochrome by François Rouan.

 


And, last but not least, a mixed media abstract by Jean Fautrier. It’s called Manhattan, and represents an aerial view of the city at night. 


Enjoy! 

Yayoi Kusama, again

 

Spring is finally coming to New York, with an exhibition in the Botanical Garden guaranteed to cheer up the grumpiest souls.

Yayoi Kusama, I Want to Fly to the Universe (2020) at the New York Botanical Garden. Collection of the artist. Photo by Sarah Cascone.

 

Yayoi Kusama has done it again, producing a number of joyful and exhilarating works, which people will be able to enjoy amongst the daffodils and blossoming cherry trees, without having to queue up for hours, as they did to experience her Infinity rooms.

The artist’s passion for nature—nurtured in her childhood since her parents made a living from the cultivation of plant seeds—is expressed in explosive exuberance.

Yayoi Kusama, Ascension of Polka Dots on the Trees (2002/2021) Photo by Sarah Cascone.

Trees wrapped in polka dots lead the public from one work to the next

Dancing Pumpkin (2020) Photo by Robert Benson Photography, courtesy of Ota Fine Arts and David Zwirner.


Her iconic pumpkin has broken out legs and is dancing.

 

Yayoi Kusama, Starry Pumpkin. Photo by Sarah Cascone.

Another is blossoming in a greenhouse .

The exhibition is entitled Kusama: Cosmic Nature, and will be on until October.

I remain awestruck by this 92 year old artist who, despite her complicated familial and romantic history, and chronic mental problems—she permanently and voluntarily lives in a psychiatric hospital—still has the creativity and zest to produce such joyful works.

 

Previous posts about Kusama  here and here and here. Photos from Artnet News article by Sarah Cascone, April 8, 2021.

Random thoughts (and drawings)

January and February have never been my favorite months—it’s still SO DARK! Usually I’m a morning person, but I find myself feigning sleep so the dog doesn’t ask to be let out at 7 a.m. She also has to be dressed, alas. See below the latest in dachshund winter fashion…


We have been deprived of many little pleasures of normal life: sharing a bottle of wine and a nice meal with friends (preferably prepared and served by someone else!), wandering around an art exhibition, taking in a show…Moreover, in any wanderings we are surrounded by people wearing masks, so even exchanging a smile is not the same.

We are lucky at least that we can enjoy some entertainment at home. I really enjoyed The Queen’s Gambit (about chess) and Dickinson (a very amusing takeoff on the poet’s early life), and a wonderful documentary called My Octopus Teacher. Remember I wrote about An Octopus in my House (A strange Pet)?Well, this one is even more remarkable, since it is filmed in the wild, underwater, in a kelp forest. Highly recommended. Unfortunately, it has quite put me off eating octopus, which I used to love. But, it inspired me to make an ink drawing.



There is only so much screen time I can take, but I’m a bookworm, so I’ve devoured some of my TBR pile: Where the Crawdads Sing,  by Delia Owens, about a girl growing up in a swamp—wonderful), two cozy mysteries: The Thursday Murder Club by Richard Oscan (very entertaining) and The Guest List by Lucy Foley (a page-turner), a thriller called Magpie Lane by Lucy Atkins (another page-turner). On a totally different note, Fresh Water for Flowers by Valerie Perrin (about a woman caretaker of a cemetery). And finally a memoir called The Lightless Sky, by Gulwali Passarlay, describing his journey, as a twelve-year-old boy, from Afganistan to the UK (mind-boggling). 

I do love to have a couple of books on the go, so now I’ve started Girl, Woman, Other, which won the Booker Prize for writer Bernadine Evaristo, together with The Mirror and the Light, the last in the Cromwell trilogy by Hilary Mantel (a huge slab, but I loved the first two, so I will persevere). I’m also dipping into The Lemon Table, short stories by Julian Barnes. Hope this list will inspire some of you.

Apart from chilly walks wrapped up in layers like an onion, I’ve also been drawing. I finished up a few Christmas present comissions.



The ones above inspired me to make a large elephant pencil drawing.

 



I find I’m more in the mood for drawing than painting at the moment. I added a couple of drawings to my ‘Travelers’ series.

 



My resolution for this year is to include more human figures in my work, and even, dare I say it, some portraits. I find I always collect portrait photos because I so admire the capability of artists to reproduce likeness and expression. I’m also drawn to portraits in museums because they show so much about each era. So perhaps it’s time to try for myself.



Celebrating Christmas

This year’s celebrations will be difficult if not nonexistent for a lot of people. Yesterday my thoughts were with the hundreds of truckers blocked on each side of the Channel who will not make it home to their families for Christmas. But it’s not only them: so many elderly persons living alone and unable to see family, so many families divided, so many displaced and homeless people. Those of us who have a roof over our heads and food in our plates already have a lot to be thankful for.

At a time when the news is relentlessly bad and the future is uncertain, what better way to celebrate than by listening to children’s voices, joyful and pure.

 



El Sistema is a social education program founded in Venezuela in 1975 by Dr. José Antonio Abreu, which aims to provide inspiration through music. It has expanded to more than 60 countries and, since 2016, El Sistema Greece has the goal of bringing music education to children and young people, including those in refugee camps in Athens and on the island of Lesvos. Thanks to music, these kids are given a platform for dialogue and togetherness across diverse communities.


One of the most fervent ambassadors of El Sistema Greece, world-famous Mezzo-soprano Joyce DiDonato has visited Athens many times, for performances and workshops. Now she joins her voice once again with the members of the El Sistema Greece Youth Orchestra and the El Sistema Greece Youth Choir, who come from 30 different countries, in a virtual concert hosted by the Stavros Niarchos Foundation.

I give you The First Noel, and wish you all a very happy Christmas!

https://youtu.be/ilqrly3FBWo






Music will not be stilled

Not to be cowed by the pandemic, the Greek National Opera turned to the Internet to present its Online Festival, curated by Giorgos Koumendakis, and under the aegis of the Stavros Niarchos Foundation. The Festival was a big success: each of its video performances attracted tens of thousands of viewers and many positive comments from across the globe.

 

Source: GNO/Andreas Simopoulos

The first part, entitled Exit: Spring,  streamed from 17th May to 30th June 2020, and offered eleven new music, opera, operetta and music theatre video-performances created during the pandemic, as well as one recorded dance performance.

Below, a video of ‘When will, when will summer come’, by the GNO children’s chorus concert, conducted by Chorus Mistress Konstantinos Pitsiakou.



The 2nd part, titled Counterpoints, was streamed online from 27 September to 31 October, and its aim was to shed light upon the relationship between Greek music and architecture. Emblematic buildings of Athens were connected to great works from the historical repository of Greek music, from the Cretan Renaissance to the present day.

The Festival was filmed at some of the greatest buildings of Athens, such as the Church of the Holy Apostles at the Ancient Agora, the Gennadius Library, and the Athens Conservatoire, amongst others.

 

Photo Credit: G. Domenikos

In one example, three of the most celebrated works of Greek art music written during the interwar period were performed at the Gennadius Library by mezzo-soprano Margarita Syngeniotou, accompanied on the piano by Apostolos Palios. These were:
• Yannis Konstantinidis’ Songs of Anticipation
• Manolis Kalomiris’ Should I Speak? set to poetry by Kostis Palamas
• Dimitri Mitropoulos’ 10 Inventions set to poetry by Constantine Cavafy

The closing act, Zeitgeist, written for string quartet by distinguished Greek modern composer Christos Hatzis was performed by musicians of the Greek National Opera Orchestra, under the baton of Miltos Logiadis, at the Athens International Airport “Eleftherios Venizelos”.

 

Some of the  videos of the performances are available on YouTube. 

Drawings

Despite the lockdown we’ve been having quite a busy time what with one thing and another, and I’ve found it difficult in the last few weeks to work on any larger paintings. Especially since my studio is in the kitchen, and larger paintings have to go on the kitchen table, then the lot must be cleared away before meals if we are to be more than two using it. Is it any wonder that I work with water-based media? Oils would be impossible, what with the smell of turpentine and the permanent drips everywhere.

I’m not complaining, though, because I do love to work on paper. Often I just make a series of drawings.

Can you see the lovely deckled edges?

I treated myself to a bunch of sheets of handmade paper from Nepal, Bhutan and India. I found it on Etsy, at a marvelous shop called TornEdgePaper, which has a huge selection at very reasonable prices, should anyone be interested. They’re all different shades, and thicknesses and surfaces, and, although some are so thin and delicate as to be almost transparent, they are impressively strong.

I’ve been using ink, pencil, graphite, gesso, watercolor and collage.

Trying out different effects.

The one below is a floral study on tinted paper, using aquarelle pencils. Irises make such weird and wonderful shapes.

An ink drawing, this time on normal watercolor paper, featuring a raven with a gold leaf background.

Last but not least, a pencil drawing with origami paper collage. It’s titled ‘Boy on horse with birds’, and I imagined him as a kind of young samouraï.

 

The Image of Greece

Fred Boissonnas (18 June 1858 – 17 October 1946), a Swiss photographer from Geneva, made several trips to Greece between 1903 and 1933, documenting all aspects of the country using notes, drawings and especially photographs. He published 14 photo albums dedicated to Greece, many of which belong to the thematic series entitled L’image de la Grèce (The Image of Greece). He travelled around the country, visiting archeological sites as well as remote villages—the first foreign photographer to do so. His aim was to contribute to the identity of Greece in Europe.

Parga, 1913


Boissonnas persuaded the Greek authorities that his photographs would enhance the country’s political, commercial and touristic image abroad.

 

Shepherds on Mount Parnassus, 1903


Looking at these pictures, one can be forgiven for asking, how?

 

 

Boissonnas being pulled up to a monastery in Meteora, by net.


Certainly, they are wonderful and picturesque daguerreotypes, but they portray a poor though beautiful country, where the traveler could hardly expect to find many comforts.

 

A street in Plaka, Athens
Market street, Andritsaina, 1903



Cities with roads still unpaved.

 

Metsovo, 1913

Barefoot village children.

 

View of the Parthenon, 1908



Unrestored antiquities.

Interior in Lakkoi, 1911

 

Village street in Elassona, 1903



Mostly small and unprepossessing houses.

The 17th-century bridge of Arta, to which an ancient legend is attached.



Because the photos are in black and white, they cannot show the pure blue skies, the sunny landscapes.

 

A courtyard in Akrata, 1903


The people in the photographs are unsmiling, being unused to posing, so the natural friendliness and hospitality of the Greeks is difficult to discern.

 

A wealthy man’s house in Kastoria, 1911


Also at the time people did not lounge on beaches in bikinis, getting a tan, so these are as far from contemporary travel photography as one can imagine.

Interior with loom, Andritsaina, 1903
A A celebration in Corfu, 1903


However, they are a document of those years, and as such fascinating. The clothes, the landscapes with few signs of human intervention, the simplicity of life.

 

Ermou Street, 1920. This is now one of the busiest shopping streets in downtown Athens. Note the Byzantine church of Kapnikarea at the end of the street.
A view of the Acropolis, with grazing sheep, 1903


At the time the photos did serve the purpose of promoting Greece to foreigners, and Boissonnas was financially aided and personally supported by prime minister Eleftherios Venizelos, to whom his publications were dedicated. These were sent to all Greek embassies and the prominent political personalities of the era.

 

 

A bridge wrapped up.

Paris, 1985: I will never forget walking by the Seine with my French cousins on a moonlit night to see the Pont Neuf wrapped up like a parcel. Built in 1606, the Pont-Neuf has joined the left and right banks and the Île de la Cité, the heart of Paris, for over 400 years.

 



The temporary installation (lasting for 14 days) was completed by 300 workers who deployed 450,000 square feet (41,800 square meters) of woven polyamide fabric, silky in appearance and golden sandstone in color. The fabric was restrained by 8 miles (13 kilometers) of rope and secured by 12.1 tons of steel chains encircling the base of each tower underwater.

 


The artwork was the brainchild of the artists Christo, who has sadly just died, and his wife Jeanne-Claude, who passed away in 2009.

All expenses for The Pont Neuf Wrapped were borne by the artists (as in all their other projects) through the sale of preparatory drawings and collages as well as earlier works. The artists did not accept sponsorship of any kind.

 



Christo and Jeanne-Claude were known for their large-scale site-specific installations wrapped in fabric. Their work took years of careful preparation, involving technical solutions, political negotiation, permitting and environmental approval, hearings and public persuasion. Their purpose: the immediate aesthetic impact; joy, beauty, and new ways of seeing the familiar.

The Pont Neuf was their only work I had the chance to see live, and it left an indelible impression. Reading of Christo’s death brought it all back as if it was yesterday, so I felt like talking about it, even though I’ve just said I wouldn’t keep writing obituaries.

 


Anyone interested in photos of their other works (which included the Reichstag in Berlin, Running Fence in California, Surrounded Islands in Miami and The Gates in New York City’s Central Park ) you can click .here.