When worlds grow and explode

I’ve never come out of an exhibition before so full of feelings and thoughts that I had to write them down immediately just to get them out of the way so others could flood into my brain. My head was full of beauty, and of possibilities, and I needed to write things down before my mind just exploded.  (This was a great excuse to find a little Parisian corner bar and order a glass of red.  Just to get my thoughts in order, you understand.)   I shall present some of those immediate, overwhelming thoughts unedited, in italics, with explanations where necessary (they were not meant for publication).  I’ve cobbled together some of my photos into short videos just to show the visual flow of the thing, but without the music, they are but poor reflections of the original.  There’s a proper video at the end, though!

This was the immersive Klimt exhibition at the Atelier des Lumières in Paris.  It was produced by Culturespaces and created by Gianfranco Iannuzzi, Renato Gatto, and Massimiliano Siccardi, with the musical collaboration of Luca Longobardi, and was one of the most fabulous things I have ever experienced.

Entering to the last, plaintive notes of “Ich bin der Welt abhanden gekommen”, stepping into Klimt’s birch forest as it breathed its last and disappeared.

I went in to the space consciously ignorant of what exactly was going to happen.  I’d read a few reviews which sparked my interest, and friends who’d been all told me I had to go, as it combined many interests of mine, but I wanted the full impact, and my goodness I got it.  The above was my impression of the first moments; it was halfway through the Klimt section of the exhibition, and it felt like I really was in one of his pictures, with leaves dropping gently through the air, falling onto the floor, ready to be crunched underfoot, with the plangent strains of Mahler the ideal emotional complement to the mood of the painting I had somehow actually entered.

Trees unfurling gradually until the last curl let the leaves drop and glitter.

I was hooked.  Klimt’s paintings moved and breathed, and I was not just standing and looking, but a part of the whole.  Utterly exhilarating.  WHAT a use of current digital technology!  Art is brought to life and set to music; aspects of paintings break away and move; images glow and then fade into nothingness; and the audience, by dint of being bathed in the light and colour, become part of the whole.  The possibilities in terms of theatre are obvious, and tremendously exciting (I want my voice to dictate when worlds grow and explode – I fear I may have let grandiosity get the better of me there!).

Gold on a neck close to a cheek, a hungry kiss, the subsequent sliding frozen in time but here?  Who knows.

The sheer sumptuousness of the Vienna Secession couldn’t have been better expressed, and the immersive nature of the experience really allowed one to smell and breathe Klimt’s abundant creativity.  Technically, what was happening was that they reproduced various of his paintings, projected them on to the walls and sometimes the floor, added a (very relevant) soundtrack, and through digital manipulation introduced movement.  I have no idea how they managed to project across such vast spaces without distortion, or how everything was covered in light and colour without (seemingly) any of the audience casting shadows, but the effect was breathtaking.

I don’t appear to have written about the jarring sensation when the exhibition finished each run, and the space was revealed in its original state; a massive concrete space, ugly, industrial (I believe it was previously an iron foundry), full of other people.  All that was utterly transformed once the show got going, and it felt as near to magic as I have ever got.  I spent over five hours in there, moving around the space to gain new perspectives as the exhibition repeated.  Time indubitably well spent.

These photos show the same space seconds apart:

 

 

 

 

It wasn’t just Klimt, though:

A swollen belly, a knowing look, and oh, OH!, Schiele’s dirty, shamed, defiant bodies cover the space, cover us . . .

  (do I have a penis reflected on my face?)

A logical correlation, a growth, but – like a cancer – maleficent, shocking; it grates.  

(I am not be the world’s biggest fan of Schiele.  I understand the flow of artistic energy between him and Klimt, but I cannot warm to his work.)

Hundertwasser (or, how to make the universe anew) is another matter entirely; I am well acquainted with his philosophy and with his life-affirming art, and was entranced by the short programme concentrating on his works:

A low, mechanical hum, and his golden ship breaks loose with a mournful bass trumpeting and circles the space, anticlockwise, unapologetic.  Birds fly, leaves explode.  Grass grows, and you know it’s the start of a perfect new world.

His gorgeous multicoloured cities grew in front of our eyes (In such fresh hope can a new architecture arise. Brick by fantastic brick, a curve here, a whimsical wall: look, no hands!).

I’d always loved his work, but what these artists had done, introducing an element of movement, adding just the right music, seemed like an enhancement, and it made me very happy.  I have been wondering whether one would obtain quite such enjoyment without any previous knowledge of these paintings.  It would still be a wonderful immersive experience, so maybe, but I do feel that my initial knowledge enriched my experience here.

The walls open up and reveal what’s behind, as that inner world revolves.  Organic openings; orgasmic.  Or maybe the wall’s moving?  Slowly, exploring?  I can’t remember how – if – this ends.

The immersive nature of this whole undertaking is truly new, thanks to the latest in digital technology, and truly mind-expanding.  It combines visual art with music which adds to it rather than clashing, and it uses imaginative techniques to focus on certain aspects and details, whilst providing a richly sensual overview of the oeuvre of these great artists.

I have to apologise, though.  This exhibition is now over.  However, this was only the first show by the Atelier des Lumières.  The next one is already in the pipeline – “Van Gogh, Starry Night” opens on 22 February, and I can’t imagine that will be less thrilling than this.  The side exhibitions (they are not content with blowing your mind just once) include Japanese art, and a contemporary creation.  (I could write pages about the stunning impact of “Colours X Colours”, the result of a two-year collaboration between the artists Thomas Blanchard and Oilhack, which was showing in the café.  Maybe I shall, another time.)  All I can say is that if you’re interested in the crossover of artistic disciplines, or want to believe in magic (or both), don’t miss any new output from this team!

Thank you for reading this far!  It’s actually impossible to fully express how innovative and exciting this exhibition was just using words, so here’s a video of the opening sequence of the Klimt programme, as filmed by a friend of mine (thanks, Sue!); this time, with the music that was so much a part of the experience.  My notes on the sequence were as follows:

Magnificent halls building out of nothing; pillars which grow and spread, a carpet rotating and setting into intaglio in a church.  Frescoes – what’s the antithesis of fading?  Creativity in visible motion.

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Vienna city of culture

Vienna

A couple of weeks ago, I had the great pleasure of being in Vienna for a few days. It had been ages since my last visit there, and I couldn’t help feeling overwhelmed by the choices of what to see. Where should I start? Should I just stick with one topic? Or district? The amount of art, architecture, music, literature, culture is just so overwhelming.  My expectations and hopes were understandably high.

First Stop, St Stephen’s Cathedral

Straight upon stepping out from the metro at St Stephen’s Cathedral, I felt so many different periods around me. The Cathedral, of Romanesque and gothic structure, is topped by a fabulous colourful roof. Its images with a mosaic of the Habsburgs’ double-headed eagle and the city’s coat of arms on the Northern side is a motive for any tourist to see. Even though St Stephen’s Cathedral has been rebuilt or extended, it feels like a perfect unity. The square surrounding it, with the lovely small huts forming a Christmas Market and the buildings leading to the Graben or the Opera make it very much part of a whole too. Fin de Siecle, Renaissance, Baroque and modern all being one. The Haas house, for instance, just opposite, was the first shopping mall in Vienna. Built in 1866 / 1867, it was destroyed at the end of the second world war and was later replaced by a new building by Hans Hollein which opened in 1990. The building was initially very controversially accepted by the Viennese. Now, of course, with time it has become just as much part of the attractions on this square as the rest.

The Viennese Coffee House

The Viennese are proud citizens of their city. This is the city where one sits in coffee houses and reads the newspaper for hours. The Viennese “Kaffeehaus” is actually a fabulous cultural institution. Having a melange (a Viennese cappuccino) with a Maronitorte or a Sachertorte and philosophising with a friend, gossiping, reading a book, writing a novel or having a business meeting, that all is happening in Vienna’s coffee houses. The “Kaffeehaus” is probably where most of life happens in Vienna. It has nothing to do with the coffee to go, throw away modern life which wishes to be so green but doesn’t really have time for it, and thus fails to see that actually sitting down and just allowing time to go by whilst discussing, reading, or just taking a moment for oneself is probably the healthiest meditation in today’s hectic city life.

The history of the “Kaffeehaus” is closely connected to the end of the Viennese Siege in 1683. Legends have it that Georg Franz Kolschitzky (1640 – 1694)  got then the first licence to serve coffee using beans left by the Turks. Some say that coffee was also called Turkish soup. The first coffee house though was opened by an Armenian Spy called Diodato. This reminds me of the later huge impact of the Austro-Hungarian empire and of its creative influences and exchanges with the East. These are still very much present in the Vienna of today.

Spirits and personalities all around

Walking down to the Hofburg, the Opera, the Burgtheater, the Albertina, the Kunsthistorisches Museum, up the Bastei, the Jewish Square, the Musikverein, the Museumsquartier, the Belvedere, the Naschmarkt, the Theater an der Wien, the Secession or Spittelberg, one experiences history all around. The Renaissance, the enlightenment years, the Habsburgs, the fin de siècle and it’s Jugendstil and the modern times too, all these can be seen and felt in Vienna. I can almost sense the spirits of Beethoven, Schubert, or Schiele, Klimt, Freud and many others walking around me.

Being a musician, I am very much aware of the number of composers who lived here throughout the centuries. Mozart of course, but also Haydn, Schubert and Beethoven are the big classics. I just love that walking through the city one can read on plates who lived in that or this house. Walking to Theater an der Wien, I not only read that Beethoven‘s Fidelio was first performed there but that he also lived in the building for a while. I had never realized that one could live there too. Beethoven’s name is in all kinds of places actually, as he moved quite a lot. Other composers lived and created here too: Bruckner, Mahler, Korngold, Schönberg and the second Viennese school, the Strauss family,… The list could go on and on. It is quite incredible actually how many musicians lived here.

Vienna, the Capital

Of course, I could compare parts of the old city, the first district, with for instance Salzburg. One also feels the presence of Mozart there. The major difference, however, is that Vienna is a city, a capital with a much wider scope of periods being felt. All different stages of growth are very clearly present in the various buildings and their architecture.  At one point this capital ruled over a major world empire, the Austro Hungarian Empire. It stretched way east to Bulgaria and Rumania and south all the way down to Syria. The influences and reactions to this huge empire on art and architecture are present all over the inner ring.

The Albertina going through time

A highlight representing the moving with the times was my visit to the Albertina. The Albertina used to be one of the biggest Palais of the Habsburgs in Vienna. Built on the remains of the city wall, it was used as a residence by Maria-Theresia’s favourite daughter, the Duchess Marie-Christine and her husband, the Duke Albert of Saxe-Teschen. The Duke founded his collection in 1776, leaving upon his death in 1822 more than 14.000 drawings and 200.000 masterpieces including works by Dürer, da Vinci, Michelangelo, Rubens, and Rembrandt. This is the central piece of the collection of the Albertina to this day and is the main attraction of the Museum. His nephew, Archduke Carl, administered and continued this collection, passing it on to his own son Albrecht upon his death. In turn, Archduke Frederick received the collection before having to let go of most of it in 1918, as Austria became a Republic.

 

In 1945, the museum was bombed. It was then partly rebuilt and partly newly built. The main attraction of the Albertina is, as mentioned earlier, the graphic Collection. The museum however also has big temporary exhibitions. My own visit was aimed to see the major Monet retrospective, which I thoroughly enjoyed. However, I won’t go into detail of it here, as that really deserves a post of its own. The big discovery for me though was when walking up to the Monet rooms, suddenly being in the living rooms of the Duke and Duchess. The wall tapestry, the carpets, the furniture, the paintings and lithographs of some of the artwork collected all make you understand that this was a residence lived in by great art lovers in the enlightenment period. It is a totally different world from the entrance and other section of the museum which are modern.

City of culture

I really could go on and on singing my praises to this city, but I really think each one should make their own impressions. What stroke me most is that culture is present all over here. For me, culture is identity, language, history, tradition, a way of thinking and of being, art in all its forms and education. I could experience all of this in Vienna. Is this unique to this city? This is an extremely hard question to answer, other cities have some of these attributes too. However, the amount of culture makes Vienna certainly a very strong contender for that first place. It makes me eager to discover more on my next visit.

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Back to the future and Nicholas Nixon

Back to the future C|O Berlin

On a grey afternoon whilst in Berlin, I decided spontaneously to walk in the Amerika House, now an exhibition space for the C|O Berlin foundation near the Zoologischer Garten station. It is my first visit here, but surely not my last.

„Back to the Future.“

I started with the ground floor, „Back to the Future. The 19th Century in the 21st Century.“: an exhibition about the beginnings of photography and its experiments with exposure, chemical reactions in connection with nature, natural elements and its continued fascination on actual artists. Whether it is Anna Atkins‘ influence or Warren de la Rue’s, it is quite extraordinary how nature, flora, light, earth, moon keeps on fascinating. I enjoyed taking the time to read the information panels. The contents are most interesting and the texts are set discretely, with a nice sized print.

“A retrospective of Nicholas Nixon.”

The second show was totally different: a retrospective show of Nicholas Nixon’s work. Nicholas Nixon is an American photographer known in parts for his series of the Brown sisters. A series of portraits of the 4 sisters, one of which is his wife. They are always posing in the same order, but not in the same way. Nixon photographed them once a year for 42 years.

The retrospective, however, starts with his beginnings, the „New Topographics“ series, the „City Views“ series and later goes on to other most moving portraits series. I have to say this show left me very moved. His constant search for closeness in his portraits whether in his series „couples“, „aids“ or „elderly“ was almost too much for me. By saying this, I mean it touched a nerve in me, which I don’t always have the strength to have opened. The distance I needed was not there, but that confrontation is what Richard Nixon wanted. In a short video at the end of the show, he explains this clearly.

I can strongly recommend theses exhibitions, they are moving and strong. Congratulations to the C|O Berlin foundation and the curators. I came out feeling inspired and emotionally taken in, and that is not always the case.

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