All posts tagged ART

Malay proverbs go mobile

Published June 18, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



A Malaysian advertising director took comfort in the old saying while working in Italy

MALAY CULTURE IS rich in proverbs or peribahasa – some are witty, some are gentle, some are scathing and a fair number are just plain odd. The constant, however, is that there are funny sayings for nearly every situation, as Malaysian artist Hyrul Anuar discovered during a stint working at the Fabrica art space in Italy last year.

His vibrant take on various peribahasa has earned him wide acclaim, but while these drawings will bring a smile to the face, they were inspired by a tough time in the workplace.

“My job in Italy was my first ‘baby’, it was a huge deal for me. But I developed some issues with a colleague and my reaction was to badmouth her. Then I realised that it was me who was behaving badly – so I drew an interpretation of the peribahasa about ‘spitting into the sky’ using Sketchbook for Galaxy [Note 3]. It continued from there,” says Hyrul.

His peribahasa can take anywhere between 10 minutes to an entire day to draw, depending on how inspired he feels.

“If I feel a proverb fits a situation I’m in, I just draw it. When I was a kid, I loved to draw and design fashion but was never interested in pursuing it as career.

After taking his university entrance exams, Hyrul went to the Aswara arts institute too study film. He tried his hand at production. “I finally wound up in advertising,” says Hrul, 27.

Now the series has taken on a life of its own. Social media, such as Instagram and Tumblr, has given it a wide audience, taking it well beyond Malaysia.

Hyrul was also featured on BBC’s website and his art is being shown until March 28 in “The Visual Series of Malay Proverbs” at Fabrica Features in Lisbon.

“The Visual Series of Malay Proverbs” was first shown at a two-day exhibition at Yasmin St Kong Heng Museum in Ipoh last August.

But despite its popularity, Hyrul doesn’t want to turn this into a job.

“I don’t want to spoil it with money because I started doing it out of sheer passion,” he maintains.

Some of his favourites are “meludah ke langit, akhirnya muka sendiri yang basah” (doing something foolish that backfires) and “mengikat perut” (binding the stomach, or to save money by eating less).

“Yesterday a musician asked me about album art. I’m considering it but I don’t want to make this as a money thing – I don’t even know how much to price things, I just give them away for free. I like it when people get inspired and want the art to be part of their life. I’m touched.”

This is just his hobby, he underlines, as he loves his job in advertising where he says he has just found his own voice.

“I don’t want to destroy that passion for art by making it my job. After the Lisbon exhibition I want to turn these proverbs into a book and maybe create an animation too.”

Hyrul also plans to expand the project, which has about 30 images, into a regional series, and has already been looking at the proverbs from countries like Thailand and Vietnam to interpret them in his own unique, colourful style.

Hyrul’s art is a means of expressing himself, an alternative to “just complaining on Facebook”. His art is a dizzying mix of impressionistic art and sleek ad campaigns, with an intensely Malaysian touch as he takes on topics like black magic, mythology and literature.

He enjoys exploring any kind of style and medium (“I like all of them!”), explaining that while some artists stick with one style, his youth spurs him on to explore his options.

There is a heartfelt piece about his late mother.

“I miss the way she gets angry with me. If I had the chance to talk to her again, that’s what I would want – for her to scold me. She gave me advice, but in a memorable way by scolding me. This and the Malay proverbs project really reflect who I am, my personality comes out.”

Hyrul is a little astonished by the praise his proverbs series has garnered, as it wasn’t about attention or fame.

“I just want people to be inspired and strive to be better. Some people don’t like my art and I knew from the start I’m not a great illustrator or painter – but I have a story to tell, I have a reason behind it, and I want people to know what it is. I don’t want to portray myself as the best painter. I do it to express myself, and hopefully someone else will like it. I just want people to like the stuff I do,” he says, joking that he preferred scolding to compliments (“must be a Malaysian thing!”).

And what’s next for the Sabak Bernam-raised lad? He is working on a new project for Vice magazine about dark love and black magic; and also wants to make a short film about his mother, who he describes as an “inspirational and practical woman” who always threw her support behind him and his endeavours.

“Beyond that, I want to explore human emotions, human stories, rather than pretend to care about other things. But I also want to explore that from the platform of advertising, since it’s so large. The industry, we need to do more for people. We must be real in everything,” he says.

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Snakes on show

Published June 18, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Bulgari embraces history’s wiliest beast

THEY WERE Indiana Jones’s most feared nemeses and scared off would-be Medusa fanciers.

Throughout history, snakes have represented peril, betrayal and sex, and now they are taking centre stage in a new Italian exhibition.

Luxury jeweller Bulgari has teamed up with Rome’s city hall for “SerpentiForm”, which runs until April 10 in a Neoclassical palace that once housed the political headquarters of Fascist dictator Benito Mussolini.

Serpent-inspired jewels are on show alongside sculptures, paintings and even film costumes – like the creations worn by Elizabeth Taylor in the 1963 film “Cleopatra”, in homage to the Egyptian pharaoh who tradition has it committed suicide by persuading a venomous snake to bite her.


“This is the first exhibition in the world dedicated to the snake that brings together so many works of various media,” Bulgari CEO Jean-Christophe Babin said, adding that the brand had “always been inspired” by the scaly reptile.

While in some cultures snakes historically represented fertility – shedding their skin in a symbol of rebirth – they are more often than not depicted as untrustworthy.

The show hopes to capture the seductive talents of serpents like the one who persuaded Eve to eat forbidden fruit in the Garden of Eden, or Lord Voldemort’s fork-tongued pet in “Harry Potter”.

The exhibition is taking place at the Palazzo Braschi, a former papal palace located close to one of Rome’s best-known squares, Piazza Navona.

Constructed at the end of the 18th Century, the palace was sold to the new Italian state in 1871 and later used as Mussolini’s headquarters. After World War II it temporarily became home to hundreds of refugees who reportedly damaged the building’s frescoes by lighting fires to keep warm.


Pursuit of the oblique line

Published June 18, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Scenes of ethnic village life yield to more conceptual thinking in the art of Dinh Thi Tham Poong

Dinh Thi Tham Poong has set aside the hand-made paper known as do, or sometimes poonah, on which she painted the scenes of ethnic life that made her famous. Her latest solo exhibition in Hanoi finds her exploring all sorts of materials – oil on canvas, ceramic fragments held together by embroidery, even bamboo baskets.

“Since 2008 I’ve been experimenting with new things, with oil and ceramics,” she says. And catchy titles: The exhibition is called “Destination Point of an Oblique Line”.

“When I look at something but don’t really concentrate on it, I get lost in my thoughts.” And, similarly, the new art represents fresh ways of seeing the world. “I perceive two ways of seeing. One is the real and the other is the imaginary – what one wants to see – the destination point. The two different points connect and disconnect, but should never be too far apart or too close,” says the 46-year-old.

The canvas of her oil paintings offers a completely different texture than the do paper, playing into the concept of altered perspectives and sensations.


“Like the Shadows on Water” has two figures sitting by Hanoi’s Hoan Kiem Lake absorbed in a newspaper, and the shadow they cast is embroidered and takes the form of a target, yet another point of concentration.

Portraits of ethnic women – and one of the artist – also appear in the show.

The small, golden ceramic pieces include a fingerprint held in place against canvas in much in the same way the artisans in her native village fix an object centrally in the loom around which they weave patterns.

Dominating the middle of the gallery is an enormous bamboo “nest” with triangular cushions arranged in a pattern. It’s a mandala of the universe, or perhaps a rendering of the sacred dance of Venus and Mars, the conjunction of the shapes suggesting the nature of the relationship.

“I want people to imagine entering the mandala basket and think about their interaction with the intersecting lines and shapes, exploring their own interconnectedness,” Poong says. “They’re all points of intersection – crossing, dividing and morphing into a new existence.”

Gallery director Suzanne Lecht suggests that Poong finds order in all aspects of life. Being “born of an ethnic Muong father and White Thi mother in the remote northern region of Lai Chu, her life began in nature, in close alignment with the seasons and the phases of the moon. Life was simple and free to align with the shifts in nature.

“Her new works are a departure in form, medium and presentation, but are once again a convergence of the intersection of the many paths or lines she’s crossed or encircled in her life.”

Born in 1970, Poong studied sculpture at the Hanoi Fine Arts College and has received several prizes for her work from the Ministry of Culture and Information. After graduating from the Vietnam Fine Arts University in Hanoi in 1993, she became quickly established as one of Vietnam’s leading female painters.

Yet Poong remembers clearly what it was like leaving her parents’ house to study in Hanoi. “I was 18 when I came to study art,” she says. “I cried a lot during those three years because I missed my family, but I finally understood that I’d grown up and had to become independent.

“Now I feel very lucky for having so many good friends and devoted teachers who helped me a lot during my difficult moments.”

The memories of Lai Chu have never faded. Her watercolours on do paper reveal that strong connection with trees and plants. Interestingly, though, her greatest artistic influence comes not from the real but the surreal. She admires the Belgian surrealist Rene Magritte above all others.

Like him, she often uses metaphysical devices to convey messages. There can be a challenging ambiguity in her images, but it’s clear enough what she sees with her vivid imagination.

Poong has often exhibited overseas and her works are in the permanent collections of museums in Singapore, Switzerland, Fukuoka in Japan, Illinois in the US and Salzburg, Austria.


“Destination Point of an Oblique Line” continues at the Art Vietnam Gallery on Ly Quoc Su in Hanoi until March 26.


London gawks at Eastern treasures

Published June 18, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Anita Delgado's peacock brooch in gold, diamonds and enamel. Photos courtesy of Victoria and Albert Museum

Anita Delgado’s peacock brooch in gold, diamonds and enamel. Photos courtesy of Victoria and Albert Museum

Bejewelled sword from Hyderabad. Photos courtesy of Victoria and Albert Museum

Bejewelled sword from Hyderabad. Photos courtesy of Victoria and Albert Museum

Diamond turban jewel made for the Maharaja of Nawanagar. Photos courtesy of Victoria and Albert Museum

Diamond turban jewel made for the Maharaja of Nawanagar. Photos courtesy of Victoria and Albert Museum

Spinels on a necklace of cultured pearls belonging to Queen Elizabeth. Photos courtesy of Victoria and Albert Museum

Spinels on a necklace of cultured pearls belonging to Queen Elizabeth. Photos courtesy of Victoria and Albert Museum

The V&A Museum shares a Mughal horde, some of it purloined in colonial times

London’s Victoria and Albert Museum (the V&A) is treating visitors to an Aladdin’s cave of jewels, dating back to the Indian Mughal era that gave us the Koh-i-Noor diamond and the glorious Taj Mahal.

Continuing into April, the exhibition “Bejewelled Treasures: The Al Thani Collection” gathers 100 objects, from the Timur Ruby to a 70-carat Golconda diamond, from jewel-encrusted swords to turban ornaments.

Sheikh Hamad Bin Abdullah Al-Thani of the Qatari royal family owns most of the pieces, and Queen Elizabeth has loaned three others, including the fabled Timur Ruby – a set of huge chunks of spinel (a red stone mined in Badakhshan in central Asia) on a necklace of pearls. The pink hue of the spinels radiates off the pearls beautifully.

Timur, the great Turkish-Mongol conqueror of the 15th century, never owned it, and the stones are not ruby, but they are nonetheless spectacular. The set was taken from the Mughal treasury amid the British invasion. One of the spinels bears a tiny inscription to the Mughal emperor Akbar.


Also from the Mughal treasury are nephrite jade objects, including a golden dagger and scabbard set with rubies and emeralds from the late 16th century, and a wine cup made in 1607. The cup is decorated with fine Persian calligraphy. Pale nephrite jade came from Khotan on the Silk Road. Exhibition curator Susan Stronge described this as “arguably one of the best jade collections in the world”.

Turban decorations in enamelled gold with diamonds and spinels and an aigrette with fine, fluffy feathers in platinum studded with diamonds and sapphires attest to the opulence of the Indian emperors and the superiority of the imperial craftsmen.

A video demonstration of the ancient kundan technique – employed by the Indian goldsmiths of the imperial courts to set gemstones with highly refined gold – is inspiring enough to make viewers sign up for a jewellery course. The goldsmiths combined this technique with European-style enamelling to create exquisite pieces, like the turban with its front adorned with gemstones in kundan settings and the back of intricate enamel work. This dual technique is still used today in Jaipur and Bikaner.

The 70.21-carat Arcot II diamond from India’s Golconda mines – given to Queen Charlotte (consort to George III) in 1767 by the Nawab of Arcot – draws gasps.

India influenced jewellery design in Europe in the 1920s and ’30s, like those from Cartier and designers such as Paul Iribe. Traditional Indian forms became Art Deco. The appeal of “Bejewelled Treasures” thus becomes not just aesthetic but also historical, even the love stories behind some of the pieces. The display earning the biggest queues has a peacock brooch and hair ornament from French jewellery house Mellerio dits meller.

Jagjit Singh, Maharaja of Kapurthala, bought it in Paris in 1905 while en route to a royal wedding in Madrid. There, like in a fairytale, he fell in love with a 16-year-old dancer named Anita Delgado and presented it to her at their own wedding. It’s an exquisite gold, diamond and enamel peacock with blue, green and yellow enamelling for the upper body and long, delicate strands of gold feathers studded with diamonds. Delgado returned to India as the Sikh ruler’s fifth wife.

An emerald brooch began life as a decoration for one of the Kapurthala royal elephants. Delgado admired it and the maharaja promised it to her if she learned to speak Urdu. She earned it as a gift for her 19th birthday. The emerald was later set as a brooch in Paris, but Delgado often wore it as a bracelet, necklace or hair ornament.

Some of the treasures on view were spoils of war, looted by East India Company soldiers from imperial treasuries that changed ownership several times. One of them, a golden tiger’s-head finial from the throne of Tipu Sultan, Maharaja of Mysore in the southern state Karnataka, ended up in Windsor Castle.

Tipu Sultan was a thorn in the side of the British intent on seizing Mysore and its mineral riches. He was used to opulence and was known to fight with a sword encrusted with rare gems. A tough general who defeated the East India Company on five occasions, Tipu said he would rather live a day as a tiger than spend a lifetime as a sheep, and had the tiger as his emblem.

Tipu was killed defending his kingdom in the siege of Seringapaham in 1799. His hexagonal throne, bedecked in gold and gemstones, was broken up and stolen by the British soldiers. Surgeon-Major Pulteney Mein, an eyewitness to the plunder, wrote, “This gorgeous throne was barbarously knocked to pieces with a sledgehammer.”

Of the eight gold tiger-head finials decorating the throne, only three remain, one of which was auctioned in London in 2010 for 434,400 pounds (Bt26.1 million at today’s rate). Queen Elizabeth owns another and has loaned it for this exhibition.

Yet another stunning piece given to Queen Charlotte is a canopy decoration from Tipu’s throne, a depiction of the Huma bird of Persian lore with a long, upright tail like a peacock’s made of gold and decorated with precious stones. The neck is emeralds and the body diamonds and rubies.

For drooling purposes

“Bejewelled Treasures: The Al Thani Collection” is part of the Victoria and Albert Museum’s India Festival ending on April 10.

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A boost for Asian art

Published June 18, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Japan Galleries will have a strong presence at the upcoming art Basel in Hong Kong

ART BASEL IS expecting sales at its upcoming Hong Kong event to mimic robust figures from their late December Miami confab as art dealers and auctioneers navigate a less heady and volatile market.

Art Basel head of Asia Adeline Ooi told reporters Monday afternoon, “Its not an easy time economically speaking,” but added robust sales at their Miami show which served as a litmus test for the season indicated exhibitors can expect brisk business at the Hong Kong show just three weeks away. The fair is being held from March 24 to 26.

Ooi said this year’s Asian instalment had already garnered out sized support from Asian collectors while an unprecedented showing by of museum groups and their patrons, more than 50 at the moment, foreshadowed a heavier institutional presence – which was responsible for buying most of the 2015’s show’s major installations.

“Inadvertently,” Japan will feature prominently in the Hong Kong show with 31 galleries from the country part of the show, Ooi said, with Tatsuo Miyajima responsible for a colossal light installation running up the height of the International Commerce Centre while The Hong Kong Art Centre’s collectors show includes works from seven of the county’s most important collectors.


The global market remains cautiously optimistic after showing sights of a rebound early this year following a 10 per cent decline witnessed over 2014 as investors ply their cash into art in light of volatile equities.

Chinese art collector driven sales cooled following a record US$179 (Bt6.37 billion) million paid for a Picasso in May 2015, with 2015’s total take US$2 billion shy of US$17.9 billion in 2014, according to auction database Artprice.

Prices are up 7.2 per cent according to president Thierry Ehrmann, however the action at Christies’ and Sotheby’s art sales earlier this year has been lacklustre with many masterpieces failing to live up to estimates or even reserve price.

London art fair chief executive Nazy Vassegh said the showings were indicative of a long awaited correction in the market which was more price sensitive and selective.


Kowtowing to Beijing?

Published June 16, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



A flagship gallery show raises fears for Hong Kong arts

HONG KONG got its first glimpse of the collection at the heart of its new flagship gallery, with an exhibition that has highlighted fears Beijing’s influence in the city is infecting the arts.

The M+ Sigg show features 80 works by famous Chinese names including Yue Minjun – known for his paintings of laughing faces – and surrealist Zhang Xiaogang.

It is billed as the first ever chronological exhibition on the emergence of Chinese contemporary art and gives a taste of a much wider collection that will eventually go on show at Hong Kong’s new M+ gallery.

The massive 60,000 square-metre art venue, set to open in 2019, aims to rival Western contemporary heavyweights like London’s Tate Modern.

But the Hong Kong government-sponsored gallery has been criticised for failing to fully represent the local art scene and faces questions over its curatorial independence.

Some in the art community ask why it spent none of its HK1.7 billion (Bt7.82 billion) acquisition budget on creations that blossomed on Hong Kong’s streets during the pro-democracy Umbrella Movement of 2014.

Others question whether this week’s exhibition – on display at a smaller gallery as M+ awaits completion – has been pared back, pointing out its touring title, “Right is wrong”, has been dropped.

There have been queries over whether some more controversial works were excluded, and whether there was pressure to tone down the narrative of Beijing’s crushing of the 1989 Tiananmen Square protests.

M+ chief curator Doryun Chong defended the new exhibition, saying it is a “whole, full historical survey” of Chinese modern art – one that includes works by Beijing’s bete noir Ai Wei Wei.

He also insisted M+ has not been subject to political pressure, but admits the gallery takes a conservative approach to its collection and exhibitions.

“There might be certain institutions or curators who believe in the idea or the power of provocation, but I don’t believe in that,” Chong said.

The questions swirling around M+ come as concern grows in Hong Kong over interference from Beijing in the semi-autonomous city’s politics, education and the press.

Those fears have been exacerbated by the recent disappearances of five Hong Kong booksellers known for publishing titles critical of the Chinese government. Four are now under criminal investigation on the mainland.

Some connected to M+ say self-censorship is becoming a bigger problem in the city.

“In Hong Kong, we do feel like there is a big tightening of the public sphere over the past two or three years, whether it’s in publishing, in theatres, in exhibitions,” says Ada Wong, a local arts advocate and a member of the M+ museum committee.

“I think this administration in particular, they are very cautious as to what would upset Beijing,” adds Wong, referring to the government of Hong Kong’s chief executive Leung Chun-ying, seen as a staunch ally of China.

Wong says local artists have even begun to tone down their work for fear of upsetting the authorities.

“Self-censorship… it’s happening, it’s just still under the table,” she says. “The fear is here, and the tightening of control is definitely here.”

The harbour-front M+ gallery venue in Hong Kong’s West Kowloon remains a sprawling construction site 20 years after it was first dreamt up.

Political interference has been blamed for delays that have eaten up the project’s entire HK$21.6 billion government grant and prompted senior figures including M+’s executive director Lars Nittve to step down.

West Kowloon Cultural District Authority head Duncan Pescod admits the full complex – which will eventually also include a theatre and public parks – could take another 10-15 years to complete.

He says the authority is considering working with several developers at the same time to speed things up.

But despite concerns, there is still hope that M+ will draw attention to the city’s undernourished creative industries.

“For a long time Hong Kong has perhaps not been the most hospitable city for emerging artists,” says Pearl Lam, who runs a prominent private gallery, pointing to the high cost of living and rental space.

“M+ will be exceptionally important for Hong Kong when it opens.”

Hong Kong is already a burgeoning art hub, the world’s fourth-largest art market and hosts major international show Art Basel.

There has been a recent explosion of galleries, with major Western brands like White Cube and Galerie Perrotin opening offices in the past five years, and smaller local art studios setting up home in former industrial heartlands.

Still, advocates say the government must do more to support the next generation of local artists – and stop being so afraid of controversy.

“If you want to support the arts you have to start by nurturing the young,” says Wong. “Creativity can be disruptive and that’s what officials are worried about.”

Reconstructing Dada

Published June 16, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation



A Zurich Museum celebrates the centenary of the movement by recreating lost work

A CENTURY AFTER Dadaism was founded in Zurich, a prestigious museum in the city is hosting an exhibit that aims to recreate one of the rebellious artistic movement’s great but unfinished projects.

Dadaism was born in 1916 at the famous Cabaret Voltaire in Zurich’s old town, where artists produced work partly inspired by the devastation of World War I that sought to challenge pre-existing notions of what constituted art.

One of its founders, Romanian-born Tristan Tzara, tried in 1921 to release a collection with some 200 contributions from some of Dadaism’s main contributors – a project named “Dadaglobe”, which ultimately faltered due to financing problems.

Thanks to artistic sleuthing, much of the collection has been reassembled and put on display Zurich’s Kunsthaus museum.

Entitled “Dadaglobe Reconstructed”, it includes some 160 works by 40 artists from across the world, including noted figures like Max Ernst, Hans Arp and Sophie Taeubeur. All had sent contributions to Tzara for the project.

The exhibit opened this month and will be on display in Zurich until May 1, before it shifts to the Museum of Modern Art (MoMA) in New York.

Tzara’s Dadaglobe project was conceived as an anthology of the movement, which ran through the mid-1920s and used humour, wit and irony to highlight what some artists described as the social and cultural decay in Europe.

Dadaglobe gradually fell into oblivion, aside from passing interest from a few scholars.

In 2005, however, Adrian Sudhalter, an art historian and curator at MoMA, noticed a series of numerical markings on various pieces while participating in a Dada retrospective at the Beaubourg Museum in Paris.

“When we inspected the art work I started to see these numbers at the back of the works and asked myself, ‘what are these numbers’?”

Her curiosity piqued, Sudhalter headed to the archives of the Jacques Doucet library in Paris, which has a significant collection of Dada and surrealist material.

There she discovered a list which corresponded to the numbers and sequences she found on the pieces at the retrospective.

Baffled at first, she little by little realised the list was a complete inventory of Tzara’s intended Dadaglobe. She would be able to assemble “the pieces of the puzzle”.

“It was really artistic detective work,” Sudhalter says. “Because of this list and because of these numbers I realised it would be possible to put [Dadaglobe] back together again.”

Tzara, who died in 1963, commissioned pieces from the leading lights of Dadaism, many of whom sought to poke fun or mock outright a world thrust into upheaval by World War I.

The “Reconstructed” exhibit features work by German painter and sculptor Max Ernst, who fought in WWI and was reportedly traumatised by the experience, producing art that was partly concerned with the subject of mental illness.

Also featured are Hans Arp and Sophie Taeubeur, who were married and worked together in Zurich, turning out what were then groundbreaking multi-media projects.

Taeubeur, born in Davos, is pictured on Switzerland’s 50-franc note.

Sudhalter explains that in her research for the project she consulted with Michel Sanouillet, one of France’s most renowned experts of Dadaism, who spoke with Tzara a few years before his death.

“Tzara told [Sanouillet] that Dadaglobe was one of his biggest regrets,” Sudhalter says.

Stepping into a painting

Published June 16, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Vincent Van Gogh's painting 'The Bedroom', left, has been painstakingly recreated at the Art Institute of Chicago. You can sleep there for $10 a night. APF Photo

Vincent Van Gogh’s painting ‘The Bedroom’, left, has been painstakingly recreated at the Art Institute of Chicago. You can sleep there for $10 a night. APF Photo

You can now sleep in a replica of Van Gogh’s “Bedroom” for just $10

Have you ever stared at a painting and wished you could slip inside? You may have a chance. The Art Institute of Chicago has recreated Vincent Van Gogh’s bedroom in an apartment and is renting it out for $10 a night.

“This is so perfect I’m literally crying,” art student Genevieve Marie Gualtiere wrote on the museum’sFacebook page.

“Staying here would be my dream! I need it.”

Art lovers have already snapped up all available dates in February, but will have more chances to book as the museum releases more dates on Airbnb.

“We’re hoping it will inspire people to think in new ways about the painting,” says Amanda Hicks, a spokeswoman for the Art Institute of Chicago.

“Our version of Van Gogh’s bedroom is so popular and well-loved and well-known that this gives you a chance to think about it and walk in it and live in and just experience with fresh eyes this iconic work.”

A group of local artists helped to recreate in painstaking detail the simple wooden furniture and rich colours of Van Gogh’s “The Bedroom,” one of his most recognisable works.

It is a remarkable experience, Hicks said, to walk through a modern Chicago apartment, open a door and be “transported across the threshold into Van Gogh’s Bedroom.”

Reservations will be restricted to just a single night and will include two tickets to the museum and a special exhibit which brings together all three versions of Van Gogh’s “The Bedroom.”

The Art Institute owns one and the others are on loan from the Musee d’Orsay in Paris and the Van Gogh Museum in Amsterdam.

The exhibit also includes a recreation of “The Bedroom” and as visitors move through the gallery they will walk over a blueprint of Van Gogh’s home in Arles, France.

It opened Sunday and runs through May 10.

Those wishing to rent the room should watch the museum’s Facebook page for an announcement of when more dates will become available. There are no plans to make it available after the exhibit closes.

“We’re not planning on getting into the recreation of bedrooms business,” Hicks says.

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Beatup art on view in Vienna

Published February 8, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


'Death and Life' by Gustav Klimt is in the exhibition 'Hidden Treasures of the Collection' continuing through February 22. Photo/AFP

‘Death and Life’ by Gustav Klimt is in the exhibition ‘Hidden Treasures of the Collection’ continuing through February 22. Photo/AFP

The exhibition proves that art doesn't have to be in flawless condition to be appreciated. Photo/AFP

The exhibition proves that art doesn’t have to be in flawless condition to be appreciated. Photo/AFP

Some 185 pieces by Austrian artists are on view, ranging from turn-of-the-century paintings to Art Deco chairs and lamps. Photo/AFP

Some 185 pieces by Austrian artists are on view, ranging from turn-of-the-century paintings to Art Deco chairs and lamps. Photo/AFP

Hans Peter Wipplinger is director of the Leopold Museum. Photo/AFP

Hans Peter Wipplinger is director of the Leopold Museum. Photo/AFP

The Leopold Museum seeks sponsors to rescue works rotting in storage

Vienna’s Leopold Museum is hoping people will pay to see art that’s broken, mouldy and eaten by worms. The prestigious home of Gustav Klimt and Egon Schiele is displaying damaged artworks to raise funds for their restoration.

Around 185 pieces by Austrian artists, ranging from turn-of-the-century paintings to Art Deco chairs and lamps, are part of the unconventional Hidden Treasures exhibition.

Some, like Robert Russ’ 1885 “Mill with Evening Sky”, reveal damaging tears in the canvas or heavily flaking paint. Other forlorn pieces include a delicate porcelain figurine with its head missing, and the panel of an oil painting by Cecil van Haanen fallen victim to hungry woodworms.

“Usually you go to the museum to admire works in perfect condition – here we show the dark side of our collection,” says the Leopold’s new director, Hans-Peter Wipplinger.

Boasting around 6,000 pieces, the museum has gained global fame for its outstanding array of 19th- and 20th-century Austrian art.

Highlights include paintings by Klimt, the founder of Vienna’s Secession movement, and his protege Schiele, whose permanent exhibition at the museum is the largest of its kind in the world.

But the Leopold’s collection also contains many lesser-known gems that deserve to see the light of day again, says Wipplinger. “When I took on my role in October, one of the first things I did was visit the storage rooms. I discovered a number of works worthy of being exhibited, but too damaged.”

The museum needs 370,000 euros (Bt14.7 million) to restore the artworks, a sum that far exceeds its available funds. “That’s how I got the idea of finding patrons willing to finance the repairs,” Wipplinger explains.

Amid mould from exposure to dampness, rusty metal parts, bent frames, bad touch-ups, the exhibition continuing through February 22 illustrates the spoils and damages an artwork can suffer over the years. “It’s also about showing the public all the work and technical know-how required to present a piece in mint condition,” Wipplinger says.

Many of the works have never been publicly shown. There is rare Art Nouveau furniture by Koloman Moser, a co-founder of the illustrious Wiener Werkstaette arts collective.Some paintings are in a fairly good state but too frail to travel.

“Other museums often ask to borrow them, but they first have to be restored to survive the journey,” says the Leopold director. Repair costs range from 300 to 13,200 euros, with some paintings like Klimt’s “Life and Death” – part of the permanent collection – merely requiring new protective glazing.

In recognition of their support, patrons will see their name displayed on a small card next to the work they helped finance.

At the exhibition’s launch late last month, an elegant visitor in his 60s revealed he had flown in especially from Cyprus. “I’m willing to spend money if I have a fancy for something, but it needs to be special,” winked the man, identifying himself only as Wolfgang.

The museum, which opened in 2001, is the brainchild of Rudolf Leopold, a visionary collector who began buying Klimt and Schiele paintings in the aftermath of World War II, at a time when many considered the Austrian artists already outdated.

In 2010 the institution made global headlines when it reached a $19-million settlement with a Jewish art dealer’s estate in the United States over Schiele’s “Portrait of Wally”, a masterpiece stolen by the Nazis. US officials had seized the work in 1997 while it was on loan in New York. It was only returned to the Leopold after the museum agreed to the pay-out.

While the dust in that affair has since settled, the museum is still in negotiations with Austria’s Jewish community over several other Schiele drawings looted by the Nazis during the war.


As light as air

Published February 8, 2016 by SoClaimon

ศาสตร์เกษตรดินปุ๋ย : ขอบคุณแหล่งข้อมูล : หนังสือพิมพ์ The Nation


Once considered a fabled fabric, muslin is again making its presence felt

MUSLIN WAS THE attire of kings and queens, a fabled fabric that was the pinnacle of European fashion in the 18th and 19th centuries. Originally called “mul-mul”, it was named by Marco Polo after the large cotton trade in the town of Mosul in Iraq.

Rare, delicate, fine and often described as “woven air”, muslin was the most sought-after textile and at its height was reaching all corners of the globe.

During the second and third centuries, India’s fine cotton was known as “Gangetic Muslin” and treated as a tribute, handed over from one royal family to another, forging friendships and cementing alliances. With the Muslim conquest of Bengal in the 12th century, trade and specifically textiles received a large boost. After the arrival of the Portuguese in the late 15th century, a small amount of Indian textiles started to travel directly to Europe, and this rapidly increased after the Dutch and the British joined in the Indian Ocean trade from early 17th century.

Muslin travelled the earth, bringing prosperity to its traders, specially the East India Company, 75 per cent of whose wealth would at one time come from this single item. In the 18th century Bengal’s textiles grew from 16 per cent to 55 per cent of the EIC trade and India was contributing an astonishing 25 per cent of the world economy, with England at less than 2 per cent. But the muslin industry was extinguished by a system of exploitative regulations brought in by the British rulers and a wave of new technology that saw the domestic cotton industry replaced by their machine-made fabrics.

By 1880, the lustre of Bengal’s muslin’s had faded and muslin was allowed to die.

Today muslin’s unique cotton plant, the phuti karpas which grew on the banks of the Meghna and its tributaries, is believed to be extinct.

The unique yarn is not spun and the weaving techniques used on jamdani (a last surviving variety of muslin) are all that is left of a lost art, even though coarser threads are used now in preference to the fine ones of the past.

Sadly, there are few credible records on muslin penned by Bangladeshis and no appropriate samples of its finery in the country’s national museums. Its story is written by outsiders and the best examples of its historic products are kept in museums abroad.

Over the past two years, Drik has extensively researched the topic with the assistance of curators, weavers and artisans both internationally and at home. Their efforts will culminate in a public exhibition that opens tomorrow at the Bangladesh National Museum.

Besides original artefacts of muslin, a photo book, documentary film and discussion sessions will also be launched. Muslin items of high thread count, 300 and above, will be on display.

The goal is to inspire the revival of a new-age muslin unique to Bangladesh and bring pride and recognition to its true heroes, the craftspeople.

After all, large volumes of fine cotton cloth are shipped from India, Turkey, the US and China to countries in Europe and Japan using the same brand name. Why shouldn’t Bangladesh profit?

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