With his latest dance creation, “The Outsiders Ball” Neil Ieremia has gone back to his roots and his first experiences of dance. As he notes in the programme,
“Growing up as a kid in the 70’s various groups would run a siva(dance) as a fundraiser, these were always filled with lots of laughter, friendly rivalries, paper plates of food, undercover romances and sometimes bad behaviour” and “the overwhelming explosion of colour floating on a haze of sweet perfume mixed with cigarette smoke.”
This is going back to the primal roots of dance, an activity which societies have been engaging in for centuries. They are the communal meeting places, often at the core of men and women, boys and girls learning about social interaction under the beady eyes of aunts and uncles.
What he describes is not far from Peter Cape’s 1958 song, “Down at the hall on Saturday night”.
‘Yeah, it’s great being out with the jokers
When the jokers are sparking and bright,
And it’s great giving cheek to the shielas
Down the hall on Saturday night”
Ieremia attempts to recreate one of those Saturday night dances filling the hall with a range of people from young to old and they bring every style of dancing from rock and roll to ballroom with a bit of Samoan slap dance and a trace of chorus line. There are loads of human interaction as individuals try out their best moves while others manage to make fools of themselves. This ball for outsiders delights in the joy, freedom and exhilaration of dance.
As with much of his previous dance work Ieremia manages to transform everyday simple movements into elegant dance so that what we see is superbly controlled chaos. There are elements of his choreographic practice throughout the various dances with his signature waves of dancers streaming across the stage coupled with abrupt changes of direction.
Some of the music is real dance material such as James Brown’s “Superbad” and Donna Summers’ “Last Dance” but there was also music from Blondie, Shannon and Troy Kingi. The dancers respond with enthusiasm and energy to each of the numbers and generally create the spirit of the local dance. The one work which didn’t seem to really carry the right mood was the dancing to Grace Jones’ version of “La Vie En Rose” which lacked the anguish and sorrow it needed.
This glorious celebration of dance ended with an animated cabaret / drag number complete with disco ball, the hall filled with the lights of Matariki.
While Ieremia is on stage dancing he also takes times to address the audience with a few discursive monologues talking about own life as well as social issues which affect Maori and Pacifica, probably not the normal conversation at the dance hall but relevant conversations which need to be had.
Lyrics by Mere Boynton Taonga Pūoro composition by Ariana Tikao
Auckland Town Hall, July 2
Wellington Michael Fowler Centre July 9
Reviewed by John Daly-Peoples
The celebration of Matariki has increased over the past couple of decades and is now recognised as part of the New Zealand calendar signalling the time to plan and prepare for the spring garden.
The New Zealand Symphony Orchestra has commissioned a new work by Gareth Farr to celebrate the event for this year along with various collaborators including singer Mere Boynton and taonga puora exponent Ariana Tikao. The resulting work Ngā Hihi o Matariki is a stunning creation full of spectacular sounds and innovative musical textures.
Matariki (The Pleiades or Seven Sisters) is the star cluster which signifies the Maori New Year but in many parts of New Zealand the Matariki group is precede by Puanga (Rigel in the Orion Constellation) and is recognised by some iwi as the harbinger of the New Year instead of Matariki.
The work is in seven movements with a nod to the “Seven Sisters” and each of the sections can be seen as a reflection on the history and mythology of the land, expressing images of the changing heavens, the elements of air, water, light, genealogy, acknowledging birth and death.
In the work Gareth Farr skilfully combines the sounds of the traditional symphony orchestra with the sounds of various taonga puora played by Ariana Tikao
Farr is a master of the dramatic sounds and his use of the percussion, woodwinds and brass is never just as background, they are always to the fore in providing dramatic sounds. The orchestra for this work was bolstered with harp and piano adding to the percussive nature of the work. The addition of taonga puoru augmented the range of sound as well as providing an ethereal sound. Farr’s use of the instruments demonstrates his ability to conceptualise and illustrate the ideas around the event through music.
So, the work describes the night sky and the appearance of the stars not just as astronomical phenomenon but their impact on the viewer and their connections with the past and the present. In the opening movement the woodwinds convey the clarity of the night sky night sky and then the appearance of the brilliant stars while a rowdy glockenspiel proclaims the burst light which comes with the dawning of a new day and year.
With many of the sequences the orchestra began with a tentative theme which slowly developed or abruptly erupted with onslaughts of sound, the layers of resonance creating images of new life and new dimensions.
Mere Boynton and Ariana Tikao appear several times on stage entering and leaving like ethereal soothsayers or Greek oracles, their appearances giving the work a ritualistic feel. Boynton’s powerful voice which ranged from the simple karanga to almost operatic in scope was full of drama and emotion, enhanced by Tikao’s playing various taonga puora.
Unfortunately, the words were not presented as surtitles so the overall impact was diminished, the audience experienced the excitement of the delivery but missed on the subtlety and nuance of the spirit of the words.
Conductor Gemma New was a guiding presence directing the orchestra with an assured poise and at times her raised arms gave her the appearance of a sprouting fern frond.
Despite the music being occasionally formulaic and repetitive this was a remarkable work by Gareth Farr and an outstanding display by the orchestra with a joyous display of sound including the full range of sounds from the percussion, strings, woodwind and brass. It is a work which should enter the canon of major New Zealand works, celebrating not just Matariki but the confluence of musical and cultural ideas.
The “Doors of Perception” exhibition at Visions is related to the ideas of psychogeography which the Marxist theorist Guy Debord used to describe playful and inventive ways of navigating the urban environment in order to examine its architecture and spaces. Such an approach also asks why we respond to particular environments and situations and how our perceptions are determined by personal, political and social influences .
The works are also linked to Aldous Huxley’s account of his use of mescaline in his book “The Doors Of Perception” of 1954 and his later book “Island” which imagine utopian environments where drugs perform an entirely beneficial function, providing serenity and understanding as well as a way to transcend the traditional sociocultural context of contemporary life.
This has been emphasised by the Covid crisis and its impact on the world in creating a sense of disconnect and unease.
The works in exhibition highlight this anxiety, with images of various environments connecting to history, science, mythology and the spiritual. Some provide concrete depictions as with Shana Moulton’s “The Undiscovered Drawer” (USD 17,250) others are more metaphysical such as the photography of Ben Cauchi. Some have a more political dimension as with Emily Karaka’s ”Rahui” (NZD 20,000) while others such as Star Gossage’s “Beside the Sea, our Pakiri” (NZD 17,500) are more spiritual.
With Shana Moulton’s “The Undiscovered Drawer” the artist enters a dream world through a cabinet that contains drawers and drawers which conceal other drawers, opening up worlds within worlds. The drawers contain objects of her fears and desires such as roller facial massage tools or keys to further doors.
The artist also engages in applying makeup to create new images of herself in this new surreal world.
The images and actions are reminiscent of the early surrealist films of Bunuel, Leger and Duchamp (some of which are showing at the Surrealist exhibition on in Wellington).
The artist search for meaning and discovery seem to be frivolous and quirky but in this creation of a mindfulness world the surreal dream takes on a serious investigation of the individual trapped in a self-referential and oppressive world with a feminist reading of cultural issues.
Ben Cauchi’s photographs also create surreal spaces. “Dead Time” (NZD 11,000) depicts a halo of light projected onto patterned wallpaper., This hovering nimbus or astral fog hints at another dimension while “The Waiting Room” (NZD 11,000) is a slightly creepy space of indeterminate use.
One of the most impressive works in the show is the video work “Enso- Cold Light” (USD 97,750) by teamLab who are an interdisciplinary group of artists, programmers, engineers, CG animators, mathematicians and architects who refer to themselves as “Ultra-technologists
The work derives from the simple, single flourish of a calligraphic brush stroke as in the work of the traditional Japanese master Sengai Gibon or the more recent brushwork of Max Gimblett.
The digital work imagines the brush stroke emerging as though from the Big Ban, expanding and morphing with energy.
At one level it is a meditative work evolving out of its Zen historical narrative as well as describing a scientific phenomenon, seeming to reach forward into the cosmos.
By contrast Joyce Campbells set of photographs ($3800 each) depict the very beginnings of the life process. They are images from The Mariana Trench, the lowest point on the surface of the Earth. The organisms in her photographs are emerging simple life forms, looking like alien creatures.
Other works in the show are by Tamara Dean, Angela Lane, Dale Frank and Adam Lee.
The exhibition has been curated by Pippa Mott Curator at Mona – Museum of Old and New Art in Hobart.
The Life of Galileo by Bertolt Brecht (translated by David Hare)
Auckland Theatre Company
Auckland Waterfront Theatre
Until July 10
Reviewed by John Daly-Peoples
Brecht’s “The Life of Galileo” links Galileo’s Italy of the 1600s with analysis of the looming menace of the Atomic Bomb in the playwright’s post war world. But the recent debates about the efficacy of the science around Covid 19 vaccines and the Climate Crisis debate make the work particularly relevant to contemporary thinking.
In Galileo’s time, new scientific ideas were emerging that challenged centuries of religious understanding of the world while in Brecht’s time, and more recently new political systems are also seen as repressing or denying new scientific ideas.
Many of the issues around the play relate to the Aristotelian view of the universe where the Sun and all other heavenly bodies revolved around the Eartha a world view the Church accepted and promoted. Others, such as Copernicus, had promoted the heliocentric model (of the Earth revolving around the Sun) that challenged Aristotle. In the eyes of the church this was heresy.
Science is the real subject of the play and Brecht’s principal aim was to show the behaviour of a man who comes to realise that he is ethically unequipped to deal with the consequences of his own genius. Galileo is a man who meets a test and fails.
Central to the play are Galileo’s scientific and polemical speeches delivered by Michael Hurst. He creates an irascible and determined thinker, a hedonist who is passionate in his search for the truth as much as his pursuit of earthly pleasures. His Galileo is steadfast in his belief in reason over faith but in the latter part of the play is wise or pragmatic in seeing the benefits of recanting his previously strongly held beliefs. This mirrors the Marxist Brecht’s own practical approach in managing to sidestep accusations of being a communist at the time of the McCarthy witch hunts in post war America.
Hurst is on stage for virtually the whole of the play and performs like a supernova exploding with intensity and power, filling the stage with his authority and presence. The long speeches which in lesser hands would be tedious are given a vividness and power which makes one aware of a Brecht’s confrontational form of theatre.
Hursts power of delivery unfortunately means that many of the minor character seem like dwarf stars, dimmed by his presence. Often these gender-blind characters are little more than stereotypes and are played as such without providing a sense of realism to the characters.
However, Ravikanth Gurunathan as Andrea Sarti developed the character from youthful enquirer to a mature scientist growing in stature and understanding with a fine sense engagement.
Roy Ward in his several roles brings a dignity and understanding to the characters while Rima Te Wiata has a few outstanding moments.
Cameron Rhodes handled his three roles well and was particularly forceful as the Venetian industrialist Vanni.
Hera Dunleavey as the Grand Inquisitor gave a compelling performance but her primary role as Mrs Sarti was less convincing.
The play has a rich text, filled with quotable lines about science, religion, truth and reason. Some of these are fleeting but have a density which is powerful. At one point the chancellor of Venice University says in reference to Galileo’s many useful commercial inventions that “The market brings you freedom” – an allusion to the “Arbeit macht frei” slogan on the entrance to Nazi concentration camps.
The stage is filled with three large metal shipping containers whose presence is never fully realised. They may well be the three Baskets/Vessels of Knowledge. The cast and crew spend a lot of the time moving these constructions around the stage and these erratic trajectories may be meant as outlining the strange movements of the planets which the Copernican system requires.
The one large container did serve a brilliant and dramatic purpose in becoming the Popes vestments room where Te Wiata is dressed, layer by layer, in rich robes as the new, supposedly more enlightened Pope.
Director Colin McColl is to be congratulated on bringing this important work to the stage. The verve and energy of the production and Michael Hurst stellar performance underscores the importance of Brecht’s work and his ideas which coalesce in the final slogan displayed at the end play – “Use Science Wisely or Everybody Dies”.
The works in Margaret Emsley new show “The Light Gets In” initially appear to be large scale photographs of slightly wilted plants. Closer inspection might suggest they are actually photographs of creations made of fabric or paper designed to look like withered blooms.
They are in fact drawing made with charcoal and pencil, rendering the flowers in realistic detail. Some are in the traditional botanical format of pencil line on white paper while others are more intriguingly on black paper. The works on the black paper make obvious the artist’s interest, suggested in the title of the show “The Light gets In” in the way in which light creates the volumes, shapes and subtlety of objects. It is light which is at the core of the way the artist depicts her objects.
She displays an exactitude of description replicating the photographic image, not only in the surface of the petals but also the areas where the photograph is out of fucus and these are rendered in an almost abstract manner.
She says of the process she uses that “the medium provides the ideal tool to explore the tension that is created between the opposing forces of light and darkness as well as the interior and external self.”
In many ways the works reference the Dutch still life artists of the seventeenth century where a single flower could represent reproduction or decay, purity or promiscuity, love or hardship.
Many of the works titles indicate a similar metaphorical approach with works such as “Optimism” ($400) or “Serenity” ($400). Others relate to particular events or activities as with “Flamenco” ($4000) or Shooting Star” ($2200).
The artist has attempted to capture something of the essence of change from full bloom through to withered final state and she notes that she is observing not just the beauty of the flower but also but also the transformation which “ through its brief lifespan reveals the inevitable, inescapable process of change”.
The petals of “Flamenco” spread out, reminiscent of the flaring skirts of a flamenco dancer, expressing the exoticism and energy of the dancer, the deep folds also hinting at mystery and allure.
While “Flamenco” references the skirt of the dancer “Bailaora” ($2200) (which is a Spanish term for a flamenco dancer) with its upright “posed” flower suggest a proud, erect dancer.
“Shooting Star” which looks more like an exotic marine creature depicts a bloom which has been affected by the elements as well as looking like an erupting sun, the tendrils of the flower like solar flares.
Several of the works which the artist has depicted past their prime also look as though they are diseased, they become momenta mori, symbolic reminder impermanence of human life and the inevitability of death.
Tautai Contemporary Pacific Arts Trust has just opened Moana Waiwai, Moana Pāti, which brings together work by nine artists who produced work during the 2020-2021 Covid-19 lockdowns.
The works in the exhibitionare by Salvador Brown, Melissa Gilbert, Lyncia Müller, Tuāfale Tanoa’i AKA Linda T, Ashleigh Taupaki, Jasmine Tuiā, Christopher Ulutupu, Tyla Vaeau and Jaimie Waititi. They include film, digital image-making, painting, tatau, poetic prose, sonic landscapes and performance.
Curated by Nigel Borell, who produced the block buster contemporary Maori art show Toi Tu Toi Ora at the Auckland Art Gallery says the title of this exhibition Moana Waiwai, Moana Pāti, can be poetically translated as “from open seas to the shallow waters,” which Borell explains is a fitting metaphor for what has been an exceptional year worldwide.
Several of the works in the exhibition focus on the domestic and the intimate. These personal reflections mirror the anxieties and unease which have affected individuals and wider society alike.
Lyncia Müller’s video work “Promise Corners” features the artist performing dance exercises but within the confines of her own home rather than dance studio. Her movements are those of a dancer or gymnast preparing for a performance. We see her performing in the lounge, the hallway and the kitchen where the traditional ballet barre is replaced by the kitchen bench.
The work contrasts the distance between the normality of the practice session with proper equipment and other participants and the aberration of the individual performing alone. The piece also emphasises the power and splendour of the body being pushed to the extreme.
Salvador Brown’s poetic work DigiTa VaSa fuses the traditional sounds of the conch with electronic noise along with a tapping sound which could be the tattooist chisel or a tapping on a keyboard. These sounds are complemented by sweeping visuals of the sea meeting the sky and the images of birds, all linking to memory and transition.
Christopher Ulutupu’s slightly surreal videos draw on the tradition of the tableau paintings in which characters are arranged for picturesque or dramatic effect and appear absorbed and completely unaware of the existence of the viewer. “Horse” features a nervous hose tethered to a clapped-out trick with two impassive figures – a lounging Adonis and an oblivious female. There is a subtle narrative with the horse providing the emotional tension. In Saltworks where five people lounge around open saltwater baths is a celebration of the commonplace.
Both these works are like visual haiku, reflections on the beauty and insignificance of the everyday.
Exhibiting close by on a construction wall in East St are works by two other artists Ashleigh Taupaki’s and Jaimie Waititi
Ashleigh Taupaki’s “Paradise” links the ideas of paradise with Paradise Beach in Samoa, from with alternating panels bear text and images. The texts are like diary entries commenting on her grandmothers’ everyday interests and activities. These recalled events are slowly weathering from wind and sun and the words are fading as though her recollection are being lost. The work cleverly generally brings together oral traditions, mythologies and memories.
The artist has also made simple paintings of Samoan plants which her grandmother has described to her. These rudimentary botanical images are like childlike descriptions of the natural world capturing the essence if not the detail.
Jaimie Waititi’s “ReMoanafication: Time is a space” uses text and imagery as a call to action in understanding and reclaiming the history of Maori. The texts are like adverting or political slogans with a density of meaning which says more than the simple statements.
All artists exhibiting in Moana Waiwai, Moana Pāti participated in Tautai’s Fale-ship programme, an initiative born out of the Covid-19 lockdowns to support artists working across a range of artistic disciplines to develop and make work at home. It is the first of two group exhibitions showcasing Tautai’s Fale-ship artists.
Tautai Director Courtney Sina Meredith says, “During the Covid-19 lockdowns, our priority was to support our artistic community to make, create and connect. The unique circumstances of isolation have impacted creative work in a number of ways. This year, our focus as an organisation is to redress the isolation of those lockdowns and work to bring our community back together, into our gallery space, to share work, talanoa and celebrate all that is Pacific creativity.”
Bologne Symphony No.1 Gershwin Piano Concerto in F Farrenc Symphony No.3
Auckland Town Hall
Reviewed by John Daly-Peoples
The APO’s latest concert “Rediscovery” featured works by a couple of composers who are rarely included in classical music programmes. Joseph Bologne a black French composer of the late eighteenth century and Louise Farrenc of the mid nineteenth century.
Joseph Bologne, also known as the Chevalier de Saint-Georges was born on the French colony of Guadeloupe. He was of African heritage with his mother being a slave on his father’s plantation. As well as being a composer he was also a virtuoso violinist, a conductor of the leading symphony orchestra in Paris, and a renowned champion fencer. Before the French revolution he was even elevated to the minor aristocracy under the title “Gentilhomme ordinaire de la chambre du roi.”
During the Revolution he served as a colonel of the Légion St.-Georges, the first all-black regiment in Europe, fighting on the side of the Republic.
His three movement Symphony No 1 owes much to Scarlatti and C.P.E. Bach with its delicate themes while the second movement melodies, show why he was often referred to as “The Black Mozart.”
The final spirited movement has connections with Haydn, who later wrote his “Paris” symphonies for Bologne’s Paris based orchestra.
While the symphony was composed for a pre-revolutionary audience the work was performed many times after the revolution, an example of music able to cross political boundaries.
Where Bologne succeeded despite his African heritage Louise Farrenc despite being a woman also succeeded in the music world gaining fame as a performer and in 1842 she was appointed to the permanent position of Professor of Piano at the Paris Conservatoire , a position she held for thirty years.
Until the mid-nineteenth century most composers did little but imitate the Beethovenian symphonic form, but Farrenc and other began introducing new sounds.
Farrance as a teacher of piano technique and a soloist had an advanced knowledge of musical composition and the work displayed an understanding of musical chiaroscuro. Her ability to create contrasts of light and dark and the subtle nuances in between make it one of the important Romantic symphonies.
Her Symphony No 3 which was only ever performed once during her lifetime owes much to the legacy of Haydn and there ais something of a homage to Beethoven in the drumbeats of the second movement. The work has a confidence and drama which should dispel any notion of her composing “soft”: or “feminine “ music. The final movement in particular is filled with a remarkable tension, almost operatic in scale.
The other “rediscovered” work on the programme was George Gershwin’s Concerto in F of 1925, one of the most extended work for piano and orchestra at the time. It did however reach a wide public with a virtuoso performance by Oscar Levant’s in Gene Kelly film musical “An American in Paris”.
There is a feverish rush to the work filled with rhythmic energy and slick melodies. Gershwin managed to combine the classical tradition of Liszt and Tchaikovsky with the hints of jazz, show tunes and Scott Joplin.
Pianist Somi Kim brilliantly emphasized the lonely-blues quality of the opening piano theme with a languid approach and played the swelling romantic theme at the heart of the first movement’s heart, without being oversentimental.
At times she played with a tender leisureliness while at other she unleashed a dynamic and spirited assault, the orchestra providing a syncopated background to her effortless trills and attacks.
Conductor Holly Mathieson performed like a dynamic exotic butterfly, expertly guiding the orchestra with graceful movements along with the occasional flourish.
Future APO Concert
On the Danube
A concert of Viennese music from the nineteenth and twentieth century.
J. Strauss II On the Beautiful Blue Danube Korngold Violin Concerto Mahler Blumine Brahms Symphony No.3
Surrealist Art: Masterpieces from Museum Boijmans Van Beuningen
Te Papa June 12 – October 31
Surrealist Art | He Toi Pohewa
By Els Hoek and Lizzie Bisley
Te Papa Press
Reviewed by John Daly-Peoples
A major show of Surrealist art has just opened at Te Papa and will be on show for the next four months. The works are all from the Museum Boijmans Van Beuningen in Rotterdam and includes sculpture, furniture, paintings, graphic design, prints, and photography.
Accompanying the exhibition is an excellent catalogue jointly produced by the Museum Boijmans Van Beuningen and Te Papa.
The 180 works in the show include major works by artists such as Salvador Dalí, Max Ernst, Leonora Carrington, René Magritte, and Marcel Duchamp.
Visitors will be able to see iconic Surrealist works such as Dalí’s Mae West Lips Sofa (1938), a playfully subversive couch shaped as a lush pair of red lips, and René Magritte’s La maison de verre (The glass house) (1939), an uncanny masterpiece in which a man’s face looks out from the back of his head.
In 1916, a group of poets and artists in Zurich turned against academism and all common beliefs about culture. Their ideas were picked up by others and it was therefore not long before the Dadaists began making “anti-art” such as noise concerts and nonsense poems. Their views formed the breeding ground from which surrealism originated in 1924. Many Dadaists later joined the Paris surrealists around André Breton.
In response to the atrocities caused by the First World War, the surrealists rejected the rational and everything that is traditional. Instead, they wanted to make art that was contrary, irrational and shocking. Andre Breton who wrote the first of his several Surrealist Manifestos in 1924 defined surrealism as “Psychic automatism in its pure state, by which one proposes to express—verbally, by means of the written word, or in any other manner—the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern”.
He also noted that surrealism could be applied to the other art forms such as poetry and literature stressing the importance of the dream as a reservoir of Surrealist inspiration.
Probably the most recognisable artist in the exhibition is Salvador Dalí. His works includes some iconic paintings quirky prints, playful sculptures and unsettling film.
In surrealism, everyday objects are used to create unusual situations and René Magritte is a master of this depicting mental images and creating works that transform reality and confuse the viewer. In true Surrealist form, alongside the likes of Dali, his paintings are never a mirror of the reality surrounding us, it is a mirror of the reality imagined by him..
Te Papa was able to obtain the exhibition which is the only venue in the Asia Pacific region because the Museum Boijmans Van Beuningen is currently undergoing large-scale renovation work so the museum has been able to make available art from their extensive collection.
The catalogue is richly illustrated with an extensive text. The various chapters provide an excellent introduction to surrealism and the artists at the centre of the various movements which contributed to it. The background to many of the works is often as interesting as the works themselves.
Magritte’s “Not to be Reproduced” was one of three works commissioned by poet and Magritte patron Edward James for the ballroom of James’s London home. The work depicts a man standing in front of a mirror (possibly James himself) but while the book on the mantelpiece is reflected correctly, the man’s reflection shows him from behind. The book itself adds another level to the mystery being a copy of Edger Alan Poe’s Les aventures d’Arthur Gordon Pym), a French translation of “The Narrative of Arthur Gordon Pym of Nantucket”
There are several other large works by Magritte in the show including “The Living Mirror” of 1928, This work with word inscribed over clouds has connections with Colin McCahon Cloud and number works of the mid 1970’s.
As well as his famous “Mae Wes t Lips Sofa there are the half dozen major paintings by Salvador Dali including ”Couple with their heads full of Clouds” and “Impressions of Africa” which includes a self-portrait.
There are a couple of fine dreamy works by Paul Delvaux such as “The Red Tower” and there are several works by Marcel Duchamp including one of his exhibitions in a box containing 68 small works by the artist.
While Women have always played a role in the Surrealist movement, this was for the most part, as objects of masculine desire and fantasy as many male surrealist artists had a blind spot when it came to gender politics. For them, the female body became the ultimate Surrealist object, mystified and fetishized.
The exhibition does feature half a dozen female artist who carved out careers including Eileen Agar’s “Seated Figure” which combines her interest in Cubism as well as Surrealism., Leanora Carrington’s Bosch inspired dreamscape “Again the Gemini are in the Orchard” and Unica Zurn’s hallucinatory works. There are also works by Rose Adler, Meret Oppenheim and Elsa Schiaparell,
There are a set of etchings by Salvador Dali produced to illustrate “The Songs of Maldoror”, a number of etchings by Max Ernst, several fetishist photographs by Hans Bellmer and a suite of works by Max Ernst.
The book also provides a history of the Museum Boijmans Van Beuningen and its efforts to build a major collection which often involved negotiations with Edward James
Several surrealist films are in the show including L’Age d’Or (The Golden Age) (1930), by Luis Bunuel & Salvador Dali and Entr’acte (Intermission) (1924), by Rene Clair
There will also be one screening of the Alfred Hitchcock film Spellbound (1945), for which Salvador Dali created some dream sequences.
Libretto by Lorenzo da Ponte from a work by Beaumarchais
New Zealand Opera
Aotea Centre, Auckland
Until June 13
Then Opera House Wellington June 23 – 27 and Isaac Theatre Christchurch July 8 – 13
Reviewed by John Daly-Peoples
Napoleon once remarked that Beaumarchais’ original play The Marriage of Figaro which had been condemned and censored after its first production for anti-aristocratic ideas was an example of the revolution in action. Mozart’s version of the play which premiered in 1786 in Vienna was permitted only after Mozart and the librettist Da Ponte had assured the Emperor Joseph II that the political aspects of the play would be removed. While the more political aspects of the original were removed Mozart’s creation has an underlying anti-establishment theme.
Mozart like a number of the liberal thinkers of the late eighteenth century was a closet revolutionary who introduced his ideas about a new social order and personal responsibilities into his all his late operas. Despotic royals always get their just desserts with their frailties, deceptions and lack of morality exposed.
The opera tells the story of Figaro who is about to be married to Susanna. He is a servant in the court of Count Almaviva who sees himself as one of the great liberals of the time as he has repudiated the long established “droite de seigneur” at his court but even though that is the official line he is intent on bedding Susanna.
Most of the opera is concerned with thwarting the Count in his endeavours. But there are other parts to the convoluted tale such as the Countess who is aware of her husband’s dalliances and seeks to outwit him. Then there is Cherubino, a youth who is infatuated with the Countess and most of the other women. Another sub plot which adds to the complications. Marcellino, Dr Bartolli’s housekeeper has lent Figaro some money and demands that he marry her if he cannot repay her. The various plots create havoc by introducing deceits, disguises and secret letters.
Lindy Hume’s latest production of the work for NZ Opera is a dazzling piece of theatre with extraordinary voices and inspired acting .
Emma Pearson sang the role of the Countess with a silvery, opulent voice and with her Act 3 “I remember his love so tender” (“Dove sono”) she emanated a delicious warmth, bringing a strong feeling of sadness. Joanna Foote as Susanna created a multi layered character who exuded confidence as through she were born to the role. When she was on stage, she seemed to galvanize the rest of the cast, singing with a captivating freshens and liveliness.
Figaro sung by Richard Ollarsaba performed with a rich controlled voice, his every gesture finely tuned while John Moore gave a superb account as the dissolute Count Almaviva inhabiting the stage with a commanding presence.
Bianca Andrew’s frisky Cherubino was a natural comic actor with an equally mischievous voice.
The rest of the cast of Kristin Darragh (Marcellina), Andrew Collis (Don Bartolo), Andrew Grenon (Don Basilio), Imogen Thirlwall (Barbarina) and Joel Amosa (Antonio) were also superb, all displaying an intelligent approach to their parts with singing which conveyed character and emotion.
The set design by Tracy Grant Lord took a minimalist approach with a series of light filled boxes which were used to create a series of spaces – drawing room, bedroom and garden. Their translucent shapes highlighted the frequent reference to notes and legal documents which disrupt the narrative as well as the shower of paper which concludes the opera.
Another aspect of the design and costumes managed link the eighteenth century and the present with elegant furniture mixed with schoolroom seats while flowing white gowns and dapper clothes contrasting with twenty-first century suits.
Galvanizing the whole performance was the glorious music which was delivered by the Auckland Philharmonia under the baton of the enthusiastic Zoe Zeniodi.
The latest exhibition at the Auckland Art Gallery “All That was Solid Melts” is one of the most challenging and stimulating shows the gallery has mounted for some time.
Curator of the show, Juliana Engberg, has created an exhibition which takes the current Covid climate as a starting point looking at the way that so much of what we regarded as normal about our day to day lives was disrupted, put on hold and questioned. We have seen that our lives and the lives of others can be completely altered not just by the Covid pandemic but also by events such as the Christchurch earthquakes, the White Island eruption and even the recent floods. These catastrophic physical changes mirror the local and international geopolitical changes and adaptations which are taking place.
The show examines how artists have responded to various crises in the past and how individuals and society deal with destruction, grief and the unknown. There is no obvious narrative through the show though the viewer goes on something of a picaresque journey, encountering individuals, events, and myths. The viewer will establish their own connections – personal, historical, political, spiritual and philosophical, mapping their way through the exhibition.
There are over hundred works in the show mainly sourced from the Auckland Art Gallery’s collections but there are a number of more recent works by both New Zealand and overseas artists including major video works by Pipilotti Rist and Pierre Huyghe.
A number of works from the collection have probably not been seen for many years but are now on show as they expand on the concepts of the show. One such work is by the French-born British artist Sophie Gengembre Anderson’s “After the Earthquake” in which she depicts the aftermath of the earthquake which struck the island of Ischia in 1883 with a female figure slumped over a demolished dwelling.
Providing a New Zealand link to seismic activity is a set of minimalist works by Julia Morison which combine the grey sandy silt of liquification which invaded her studio and a variety of liqueurs which were also destroyed. “Liquerfaction I – IX” are like nine concrete building slabs, the results of the catastrophe repurposed, the artist bringing order to the chaos of the event.
The title of the show is a misquote from Marx’s Communist Manifesto where he notes that “All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses his real conditions of life, and his relations with his kind.
With that misquote Engberg says she wanted to “create a fragment as though it had fallen of the bigger edifice and now I have stuck it back together but didn’t get it quite right and I made it new with a different inflexion so it refers to now. We find ourselves in a time when we do think the ground has shifted and we do think things have changed and we are concerned about what will be happening in the future.”
“So, this show is about encountering those things especially through the metaphors that are rallied by artists to help us negotiate and navigate some of those ideas so we can learn from some of these errors and make it better. We sometimes think we have learned the lessons, we congratulate ourselves and then we return to the same dilemmas. So we see the repetition of war ecological damage, cataclysms returning time and again.”
In many wasy the show is remarkably dense and multi layered, filled with ideas and concepts Engberg has endeavoured to provide a number of ways of encountering the show. “I’ve worked hard on the aesthetic journey, thematic journeys as well as sub themes such as materiality. It’s quite episodic and odyssey-like as well. I would like people to travel through time and accumulate memories.”
There are also themes which people will pick up on. “Solitude, anxiety, grief, ruin, ecological, and geographical disaster. There is also regeneration, fragility, political unrest, new nature and self-healing” If I was a conventional curator, I would have put words like that up on the gallery walls but that reduces the looking which I would like to encourage. I want people to really look and be tantalised by the images. I want them to feel they are on a visual journey and they are compelled to look at things and take the time .” She also notes that the show “travels along an emotional trajectory, resting on moments of metaphor and symbols of regrowth and release.”
She gives as an example the works of artist and theorist Piranesi who was fascinated by the ancient architecture of Rome, imbuing the crumbling structures with vitality and romance, referencing the collapse of the ancient Roman civilization.
This reference to Ancient Rome is also seen in the photographs of Helene Binet documenting Hadrian’s Villa where the crumbling structures are like the bleached bones of an animal.
New Zealand content and New Zealand imagery is threaded through the show, something that Engberg made a conscious decision about “ “This has been made for a New Zealand audience, it is not going anywhere else. It’s important that people see their own things and to see the works which have been responding to events for a long time. I went down to Christchurch to talk to artists who had been through the experience of the earthquake.”
An underlying theme in many of the works is religion and the way it has been used as a form of comfort or relief to understand or cope with disasters. Engberg says “There are aspects of this in the earlier part of the show but not the latter part. Within the whole show I wanted there to be journey from darkness to lightness., from the faith-based understanding of the work to a more empirical and scientific understanding.” She sees “a spiritualism in the Bill Viola work “Observance” and there is a certain religiosity in Franz Sturtzkopf’s “The Hermit”.
The inclusion of Juan de Juanes’s “St Sebastian” is a reference to the Black Beath of the fourteenth century when he was seen as the patron saint of plague survival with his body pierced by many arrows. This reliance on the spiritual as a means of denying or coping with disater is also seen in Douglas Gordon’s “Private Passion” where a devotional candle provides both pain and relief to the supplicant hand.
There are several interesting works such as Gustav Dore’s “The New Zealander” an imagining by the artist of London based on the text by Thomas Macaulay, who wrote prophesying a time in which a lone wanderer – a New Zealander – might sit on the broken arch of London Bridge and sketch the ruins of St Paul’s Cathedral.
Then there is Katie Paterson’s “Fossil Necklace” consisting of 170 beads from various geological eras spanning 3.2 billion years providing a necklace which tells the history of the world
For Engberg there are a few seminal pieces including works by Bill Viola, Douglas Gordon Pierre Huyghe, Tacita Dean and Pipilotti Rist with the gallery’s collection provided a depth of both contemporary and historical works which allows for insightful intermixing and cross pollinating.
Accompanying the exhibition is a newspaper style catalogue with information about the artworks. Each of the galleries has a set of QR codes to access information on individual works as well.