Blanche Magazine Issue 2 luxe-desire-love by Blanche Magazine

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EDITOR’S letter

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The Contributors Neil Callender

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Brian Daly

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Thea Lewis

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Johanna Ikeng

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Le Royal Éclaireur H\ ZLPU K\ 9V`HS 4VUJLH\ (]LU\L /VJOL 7HYPZ www.leclaireur.com

Photos : DR

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Hi Matic hôtel 9\L KL *OHYVUUL 7HYPZ www.hi-matic.net

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Photos : Simon Buisson

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le nouveau concept–club imaginé par David Lynch (WYuZ SL JPULTH SH WLPU[\YL SH WOV[VNYHWOPL L[ SH T\ZPX\L SL YtHSPZH[L\Y J\S[L +H]PK 3`UJO HQV\[L \UL UV\]LSSL JVYKL n ZVU HYJ H]LJ SL *S\I :PSLUJPV n 7HYPZ 3H UV\]LSSL ¸WSHJL [V IL¹ KLZ U\P[Z WHYPZPLUULZ YLWYLUK SL UVT K\ JHIHYL[ KHUZ SL ÄST ¸4\SOVSSHUK +YP]L¹ 3»LZWHJL KL T L[ SL TVIPSPLY VU[ t[t JVTWSu[LTLU[ WLUZtZ WHY S»HY[PZ[L KHUZ \U LZWYP[ ¸ZHSVU WHYPZPLU KLZ HUUtLZ ¹ :HSSL KL JVUJLY[ IPISPV[OuX\L K»HY[ L[ ZHSSL KL JPUtTH MVU[ WHY[PL KLZ SPL\_ H]LJ SH WYVTLZZL K»PU]P[tZ WYLZ[PNPL\_ L[ \UL WYVNYHTTH[PVU tJSLJ[PX\L ZL ]V\SHU[ OH\[ KL NHTTL L[ [YuZ HY[PZ[PX\L +LZ[PUtL K»HIVYK n \UL JSPLU[uSL H]LY[PL KVUJ SL JS\I ZLYH HJJLZZPISL H\_ TLTIYLZ ZL\SLTLU[ Q\ZX\»n TPU\P[ HWYuZ X\VP [V\[ \U JOHJ\U V\ WYLZX\L WV\YYH WYVÄ[LY KL JL UV\]LH\ JVUJLW[ JS\I Q\ZX\»n O K\ TH[PU Club Silencio 9\L 4VU[THY[YL 7HYPZ ^^^ ZPSLUJPV JS\I JVT BLANCHE 10

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HOMMAGE EN IMAGES...

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BLANCHE

AGENDA

MILLION DOLLAR BABY

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PYTHON, mon Amour

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STELLA MCCARTNEY

rhabille son parfum

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“LA MODE FASCINE CAR ELLE REPOUSSE TOUJOURS PLUS LOIN LES LIMITES DE L’ENTENDMENT” ANDY WARHOL HAUTEMENT DÉSIRABLES, LES OBJETS CULTES DE LA SAISON SONT L’INCARNATION MÉME DU DÉSIR. ILS S’EXPOSENT POUR ATTIRE LES REGARDS ET NOUS SÉDUISENT DANS UNE RÉÉDITION SYMBOLIQUE, AUDACIEUSE ET SURÉALISTE DU STUDIO FACTORY D’ANDY WARHOL, ACCUEILLANT LE CHARME DE HEDY LAMARR POUR ÉVOQUER L’ESPRIT “PARTY” DES ANNÉES 90. HOMMAGE AU LUXE ET À LA CULTURE, LES ACCESSOIRES DE L’HIVER FLIRTENT DIVINEMENT POUR ÉCRIRE UNE SYMPHONIE DE DÉTAILS ET DE MATÉRIAUX PRÉCIEUX. COMME LE CUIR PYTHON ET LA FOURRURE QUI SE MÉLANGENT AVEC L’OR, LES PAILLETTES ET INCRUSTATIONS PRÉCIEUSES, MIS EN SCÉNE DANS UN JEU DE LUMIÉRE CE N’EST PAS SEULEMENT UNE QUESTION D’APPARENCE, MAIS L’ALCHIMIE QUI CRÉE LE SUBLIME ET L’UNIQUE. TOUJOUR. LE NOUVEAU MANIFESTE MAGNIFIQUE, S’AFFICHE DÉLIBÉRÉMENT.

BLANCHE

MODE

Chaussure à talon doré en velours noir EMPORIO ARMANI Chaussure paillettes et chamois MIU MIU Bracelet en acrylique SONIA RYKIEL Sac Miss Sicily en cuir et paillettes DOLCE & GABBANA BLANCHE

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MODE

BLANCHE

MODE

Escarpin en lurex PRADA Chaussure python rose GIORGIO ARMANI Broche or et strass CHANEL Pochette en phyton TODâ&#x20AC;&#x2122;S BLANCHE

MODE

Pochette en python doré LANVIN Bottines en veau velours et fourrure TOD’S Bottines cuir et paillettes ROBERT CLERGERIE Sac en cuir et fourrure dorée CHANEL BLANCHE

MODE

Pochette en cuir avec détail art deco RALPH LAUREN Sandales en cuir façon dentelle NICHOLAS KIRKWOOD Bracelet en argent DYRBERG/KERN Pochette satin et strass BLUMARINE BLANCHE

MODE

Pochette en cuir noir avec dĂŠtails pierres et strass PATRIZIA PEPE Sandale plate forme en velours et cuir GEORGINA GOODMAN Pochette en cuir noir HERMES Pochette en daim noir avec perles et tuile EMPORIO ARMANI BLANCHE

COVER STORY

Robe RAPHAEL LOPEZ FROM ATELIER MAYER Boucles d’oreilles BUTLER AND WILSON FROM GILLIAN HORSUP @ VINTAGE MODES Chaussures JULIAN MACDONALD

BLANCHE

Photographe: Brian Daly AssistĂŠ de Ronan Gallagher and Marc pritchard Stylisme: Rachel Bakewell @ Frank agency. AssistĂŠ de: Assisted by Hayley Caine and Lisa Marie Price. Maquillage: Jose Bass @ Frank agency avec les produits Yves Saint Laurent. Coiffure: Claire Rothstein avec les produits Shu Umera art of hair, Digital: DXP Retouch

BLANCHE

MODE

Combinaison ELLIE SAAB Ceinture Ungaro from GILLIAN HORSUP @ VINTAGE MODES Boucles d’oreilles GILLIAN HORSUP @ VINTAGE MODES BLANCHE

MODE MODE

LOOK VERSACE Chaussures SERGIO ROSSI Bague CHANEL Boucles d’oreilles CHANEL @ ATELIER MAYER BLANCHE

MODE

BLANCHE

MODE

Pull CELINE Veste en fourrure PAUL AND JOE Culotte LOUIS VUITTON Bracelet CHANEL FROM ATELIER MAYER Boucles d’oreilles CHANEL FROM REWIND VINTAGE

BLANCHE

MODE

Robe ANTONIO BERADI Boucles d’oreilles VALENTINO FROM GILLIAN HORSUP @ VINTAGE MODES BLANCHE

MODE Robe BRIAN LICHTENBERG Boucle d’oreille VINTAGE @GILLIAN HORSUP @ GRAYS ANTIQUES Botte haute JIMMY CHOO

BLANCHE

MODE

BLANCHE

MODE

MODE MODE

Robe HERVE LEGER Bottes PRADA Boucles d’oreilles KARL LAGERFELD FROM GILLIAN HORSUP @ VINTAGE MODES

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Robe noire DSQUARED Gants GARETH PUGH Chaussures YSL Boucles d’oreilles CHANEL ATELIER MAYER Collier CHANEL ATELIER MAYER BLANCHE 30

PHTHU[Z KHUZ SH WLH\

BIJOUX

Photographe:Dan Smith, Stylisme: Thea Lewis, Maquillage: Guerlain par Emma Osbourne chez Naked Artists, Coiffeur: Keiichiro Hirano chez DWM pour Studio Chez, Mannequin: Alys@Next Model Management, Digital: DXP Retouch

BLANCHE

MONTRES BIJOUX

BLANCHE

BIJOUX

Robe HERVE LEGER Boucle d’oreille en diamants (portée en clip d’oreille) BULGARI Bague ‘Bullet’ HATTIE RICKARDS BLANCHE

BIJOUX MONTRES BIJOUX

Veste rose pâle double boutonnage ACNÉ chez Selfridges Slip WHAT KATIE DID Collier en diamants DE BEERS Bracelet Serpenti en diamants BULGARI BLANCHE

BIJOUX

Robe HERVE LEGER Broche en diamants VAN CLEEF AND ARPELS Boucle d’oreille en diamants (portée en clip d’oreille) BULGARI BLANCHE

BIJOUX MONTRES BIJOUX

Slip et corset – WHAT KATIE DID Veste ALICE + OLIVIA Bracelets en diamants VAN CLEEF AND ARPELS et BENTLEY AND SKINNER Broche abeillle en diamants BENTLEY AND SKINNER BLANCHE

BIJOUX

Pantalon large ACNE chez Harvey Nichols Bagues en diamants BOUCHERON, BULGARI, DE BEERS ET VAN CLEEF AND ARPELS BLANCHE

MONTRES

4H 1VSPL (JPLY H]LJ JHKYHU ZLY[P KL KPHTHU[Z BOUCHERON

+LU[LSSL H]LJ KPHTHU[Z L[ IYHJLSL[ LU ZH[PU CLAUDE MEYLAN

WHITE Elegance

Des montres luxueuses à l’heure du blanc et du diamant

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BLANCHE

*SHZZ 6UL (JPLY H]LJ S\UL[[L WH]tL KL KPHTHU[Z CHAUMET

BIJOUX

L’ÉLÉGANCE À LA FRANÇAISE 3H 7HU[OuYL WYtJPL\_ H K\ JtSuIYL QVHPSSPLY MYHUsHPZ KVU[ S»VYPNPUL YLTVU[L H\_ KtI\[Z KL SH THPZVU X\HUK ZVU JYtH[L\Y 3V\PZ *HY[PLY \YUVTTHP[ HPUZP ZH JVSSHIVYH[YPJL 1LHUUL ;V\ZZHPU[ 3L MtSPU YL]v[ PJP \UL WHY\YL KLZ WS\Z S\_\L\ZL H]LJ JL[[L IHN\L 7HU[OuYL 2 LU VY ISHUJ WH]L KL KPHTHU[Z H]LJ WPLYYLZ tTLYH\KLZ L[ VU`_

STONE of the SEASON

Marylin chantait “diamonds are a girl’s best friend”. Car comment résister au charme de ces pièces rêvées qui nous transportent dans la tradition grandiose de l’art des pierres précieuses? Travaillées par les artisans d’exception des plus grandes maisons de joaillerie, ces amours de bijoux sont en effet les amis précieux dont chacune voudrait se parer…

LES BIJOUX DE L’EMPEREUR

Photos : DR

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LE JOAILLIER EMBLÉMATIQUE :HPZVU KL Mv[L L[ K»LUP]YLTLU[ JOLa =HU *SLLM (YWLSZ H]LJ \UL PU]P[H[PVU KHUZ S»\UP]LYZ KLZ NYHUKZ IHSZ K\ LTL ZPuJSL V\ SL IPQV\ WYtJPL\_ KL]PLU[ WPuJL THP[YLZZL K\ JVZ[\TL KL JtStIYH[PVU 3»L_[YH]HNHU[L IHN\L º4HRHYH» Z»PUZJYP[ WHY[PJ\SPuYLTLU[ KHUZ JL[ LZWYP[ H]LJ \U PTWVZHU[ ZHWOPY KL 2 VYPNPUHPYL K\ :YP 3HURH L[ X\P Z»HJJVTWHNUL KL [\YX\VPZLZ HTt[O`Z[LZ ZHWOPYZ WtYPKV[Z L[ KPHTHU[Z

LE SAVOIRFAIRE SUISSE

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DESIGN What Happens When restaurant Designed by Elle Kunnos de Voss, The Metrics Image courtesy of Felix de Voss

LISTEN

TECHNOLOGY HAS OPENED UP NEW POSSIBILITIES FOR THE CREATIVE USE OF SOUND IN ART, DESIGN AND ARCHITECTURE. BLANCHE GOES TO THE AUDIO FRONTIER TO LOOK AT SOME OF ITS PIONEERS.

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DESIGN

BLANCHE

DESIGN

Pizza Express Designed by AB Rogers Photography by John Short

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DESIGN What Happens When restaurant Designed by Elle Kunnos de Voss, The Metrics Image courtesy of Felix de Voss

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SEXDesire CRITICISED FOR ITS PERCEIVED SEXISM AND OBJECTIFICATION OF WOMEN, THE LATE HELMUT NEWTON’S WORK HAS BEEN DESCRIBED AS ‘PORNO CHIC’, YET HE PUSHED THROUGH THESE ENCUMBERING LABELS AND ACCUSATIONS WITH A MIXTURE OF NONCHALANCE AND DEFIANCE.

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Helmut Newton Thierry Mugler, 1998 Monte Carlo Polaroid © Helmut Newton Estate

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Helmut Newton Paris Match, 1985 Monte Carlo Polaroid © Helmut Newton Estate

“

The beginning of my notoriety,” is how the late Helmut Newton referred to an article entitled ‘The Story of Oh’, published in American Vogue in 1975. Scenes depicted in his images such as a woman wincing in pain as a man bites her ear, or the blurred image of a dog stepping over a model as she lies by a swimming pool were viewed by some as advocating bestiality, misogyny and violence. While Newton largely avoided participating in the debate surrounding his work, stating in a letter to a friend, “A photographer, like a well-behaved child, should be seen and not heard,” he did not compromise and what he did say was hardly designed to woo the feminists. “We never refer to models as real people,” he remarked. “Because they are paid a high sum of money, these ‘unreal’ entities become whatever the photographer says.” Newton suggested that the disapproval of his work is rooted within the questions it forces the viewer to ask about his or her own nature. While feminists said that his images depicted women as slaves to fashion, style, and men, BLANCHE

the reverse could also be argued. Women are liberated by the opportunity to dress and style themselves in a way that expresses

“ A PHOTOGRAPHER, LIKE A WELLBEHAVED CHILD, SHOULD BE SEEN AND NOT HEARD.” NEWTON something about their identity and Newton’s realised fantasies helped to feed those endless possibilities. In the introduction to the book, Private Property, Philippe Garner criticised the 1960s ideas that, “Style kept us from our authentic selves” and that, “To remove our politeness, our grooming was to show each other the deep, personal, natural selves we were.” Garner suggested that Newton was the “inheritor of the modernist idea that

perhaps all is style, (that) perhaps there is no secret self aching to be liberated.” Newton’s series entitled ‘Domestic Nudes’ seems to taunt feminist ideals whilst embracing the idea of women as individuals in harmony with their surroundings. With their unruly hair and nonchalant expressions [OLZL ^VTLU KPăLY ZVTL^OH[ MYVT [OL other ‘Newton-women’. Not being overtly voluptuous, glamorised, feminine, or not so, these woman seem to make a statement without outwardly pushing one. As described in the book, Archives de Nuit, the women “reject every idea of imitation” with their blemishes, a touch of light blonde hair above a belly button, an unruly eyebrow. These natural imperfections bring the glamour and eroticism of the images into the world of reality, allowing the viewer to see a little NSPTTLY VM [OLTZLS]LZ PU LHJO \UÄUPZOLK narrative. It might even be said that Newton was in fact a sort of feminist in his own right, or at least a cheerleader for equality. He once noted that he was, “against the ghetto that woman

are put in, often by themselves, ‘woman photographers’, woman artists’, what counts is the work.” By pointing to the importance of ‘the work’, he broke down the age-old

“WE NEVER REFER TO MODELS AS REAL PEOPLE” NEWTON perception of genders as a homogenised mass and suggested that attaching importance to the gender of an artist equated to saying that the opinions of all males or all females could be grouped together as similar. In such a scenario, the concept of all people HZ PUKP]PK\HSZ MHSSZ ÅH[ HSVUN ^P[O ^OH[ MVY Newton, should be prevalent - the content of the work itself. This generalisation of genders was further questioned by Newton with the androgynous

women of his ‘Big Nude’ series. Today, HUKYVNÙ` ÅH\U[Z P[ZLSM PU MVYT VM ÔP[L collared shirts, tailored trousers, boyfriend QHJRL[Z JYVWWLK OHPY HUK IV`PZO ÄN\YLZ but Newton’s take on the concept was LU[PYLS` KPăLYLU[ =VS\W[\V\Z HUK Z[YVUN his Amazonian women dominated the frames and could never be mistaken for boys. Sometimes yielding guns and wearing cowboy boots, they oozed power and JVUÄKLUJL ÔPSL Z[PSS YLTHPUPUN T`Z[LYPV\ZS`

“I THINK ROMANCE IS CUTE BUT I DON’T WANT IT IN MY PICTURES” NEWTON

remained true to the title and there was no sign of victimisation in those fashion warriors. The Helmut Newton Foundation in Berlin are currently exhibiting a collection of 300 works based on the late photographer’s polaroids. Though almost redundant in digital-age fashion photography, Newton used the polaroid as a way to test and experiment with composition and lighting on set. While many artists and writers would get squeamish about the thought of their sketches and rough drafts making it into the public realm, Newton loved the spontaneity and immediacy of his polaroid shots, collecting them throughout his career and even publishing them in the book Pola Woman (1992). Helmut Newton Polaroids runs until May 20. Text: Michelle Harvey Edited by Neil callender

feminine. In the ‘Here They Come’ series, the woman were photographed in the same poses both clothed and then naked. Their stances BLANCHE

at Homewith the

Billinghams

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THERE’S NO PLACE LIKE HOME, RIGHT? FOR PHOTOGRAPHER RICHARD BILLINGHAM THIS FA MOUS SAYING GETS THE PROPER AIRING IT DESERVES.

n his photographic work, Rays Laugh HUK ÄST WYVQLJ[Z Z\JO HZ [OL BBC-commissioned Fish Tank, Richard Billingham takes us on a labyrinthine journey around the inner workings of familial relations, documenting the daily routines of his mother and father from her obsession with the ornamental to his steadfast drinking. He does so without judgment or criticism. “‘It’s not my PU[LU[PVU [V ZOVJR [V VăLUK ZLUZH[PVUHSPZL be political or whatever,” he says. “Only to make work that is as spiritually meaningful as I can make it.” While the subject matter of that work, a working class family in a Birmingham council estate, could encourage critics to see it as belonging to the British social realist tradition, Richard’s photography lacks the political or social motivation synonymous with that style. There is no ‘message’, rather it was a way of better understanding his own parents. As he is not a detached sociallymotivated documenter but one of the family, he avoids a common pitfall of the social realist approach in which characters ultimately become representatives of their personal problems which are almost invariably the greater social problems of alcoholism, unemployment, drug addition, teenage pregnancy, poverty, and crime. While his father may drink a lot, to Richard this was normal and in his photographic depictions was almost incidental. In not pushing a social message Richard individualised his subjects; they were not representatives of their social class, their estate, or their lifestyles, but only of themselves. In the photo ‘Untitled’ (jig saw puzzle) (1995) his mother sits on a greyish brown sofa doing H W\aaSL ;OL JVSV\YZ HUK ZOHWLZ VM OLY ÅVYHS dress, forearm tattoos, and jigsaw pieces, provide three levels of vibrant decoration, LHJO VM ^OPJO LSPJP[Z H KPăLYLU[ HZWLJ[ VM her personality. “My dad had moved into

my mum’s place by this time and I could not believe how it looked,” said Richard. “She’d had two years away from my dad so she had created her own psychological space around herself that was very ‘carnival-esque’ and decorative. There were dolls, jigsaws everywhere.” While Richard’s parents, Ray and Liz, are not artists like their son they became indirect creative collaborators in his work, with the details of their home, their clothes, of his mother’s ornaments coming together to provide a readymade coherent aesthetic. This allowed Richard to choose the most simple of photographic forms for his work. The stylistic reference point was the family snap shot and he shoots with often JOLHW JHTLYHZ HUK TT ÄST KL]LSVWLK PU pharmacies. Unlike other documentary styles

“THE HUMOUR IS INCIDENTAL IN MY WORK- I DON’T WANT TO MAKE COMEDY OR SOMETHING FUNNY FOR THE SAKE OF IT. WHEN YOU ARE POOR, LIFE IS NOT NECESSARILY GRIM”

which obligate us to become a concerned viewer, Richard invites us to share in the spirit of each image as if he is our friend showing us his family album. Some of the pictures are funny and we are allowed to laugh with rather than at the subject. The poses struck by his family members exude their own personalities, the events appear spontaneous, the subjects are given precedence over form,

and Richard is present most of all, not as an artist or photographer, but as a son holding a camera.

BLANCHE: How have you been spending the summer? What has been inspiring you recently? RICHARD BILLINGHAM: I have been THRPUN H ZOVY[ ÄST IHZLK VU HU PKLH PUZWPYLK by a shopping channel. I have also been ^YP[PUN KV^U ZVTL PKLHZ MVY ÄSTZ (WHY[ from that, I have generally been looking after kids. B: Do you take a camera with you everywhere, waiting for a prime photographic opportunity? RB: I went through a phase of doing that. The thing is, the best images are ‘found’ or discovered, as if by chance. Taking a camera everywhere can introduce a kind of desperation not to miss anything. I think it focuses the wrong type of attention needed to make good work. It encourages you to ‘look’ for good pictures. The ones you search for never seem as interesting or original. B: Jean Luc Godard said that the Lumiere brothers put the extra-ordinary in the ordinary. Is this something you try to do in your work? RB: I think because I often photograph the things around me, I do have to come at things MYVT H KPăLYLU[ HUNSL [V Z[VW [OLT SVVRPUN too familiar. B: Can you tell us about the technical decisions which contribute to your personal photographic style? RB: I have never really used digital cameras. 0 \ZL H YHUNL VM ÄST JHTLYHZ SV[Z VM JYHWW` plastic cameras that do not have a brand name. I test them out and get to know each camera’s idiosyncrasies. I also use ‘good’ ÄST JHTLYHZ TLKP\T MVYTH[ JHTLYHZ HUK panoramic cameras. I enjoy experimenting BLANCHE

“TAKING A CAMERA EVERYWHERE CAN INTRODUCE A KIND OF DESPERATION NOT TO MISS ANYTHING. I THINK IT FOCUSES THE WRONG TYPE OF ATTENTION NEEDED TO MAKE GOOD WORK. IT ENCOURAGES YOU TO ‘LOOK’ FOR GOOD PICTURES. THE ONES YOU SEARCH FOR NEVER SEEM AS INTERESTING OR ORIGINAL.” RICHARD BILLINGHAM

with them.

B: In your book, Ray’s a Laugh, you present an intimate documentation of your family’s everyday life. Can you explain your position in this family album? How did you position yourself as a son, spectator and photographer? RB: I guess I was the son and I just happened to have a camera and liked making pictures.

funny for the sake of it. When you are poor, life is not necessarily grim, like in the ‘Bill Douglas Trilogy’ (good as it is). You make jokes, laugh at the situations you are in, the O\TV\Y OLSWZ `V\ NL[ [OYV\NO [OL KPĄJ\S[PLZ You don’t sit there being miserable all the time. When I was poor I didn’t really have any experience of what it was like on the other side so didn’t know what I was missing. I just got on with life and humour is a way of coping.

way of coming to terms with my situation or ^OV 0 ^HZ I\[ VU YLÅLJ[PVU P[ PZ OHYK [V ZH` that this is why I took them. The reason for taking pictures can change minute by minute depending on your mood at the time. I know that taking a good coherent collection of pictures can force you to engage with the subject matter intellectually- so that you have to know a lot about the subject to make better pictures.

B: Like the title, the collection is infused with humour where other photographers may have employed a more sombre tone. Can you talk about your own sense of humour and its function in in your work? RB: The humour is incidental in my work- I don’t want to make comedy or something

B: You once said, “I’ve been taking pictures for my family as a way to comprehend them more fully.” Can you elaborate on this and tell us how your relationship with, and attitude to, your family has changed through documenting their lives? RB: Sometimes taking the pictures was a

B: Your family portraits use three human subjects (your father, mother and brother) but there are often dogs and cats present in the pictures. How important are the pets to the family and why did you chose to include them? RB: I included the pets because they were

Below: Richard Billingham Tony Smoking Backwards, 1998 Digibeta Master, 3 minutes 41 seconds Copyright the Artist, courtesy Anthony Reynolds Gallery, London

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Richard Billingham Untitled, 1995 Colour photograph mounted on Aluminium 105x158cm Copyright the Artist, courtesy Anthony Reynolds Gallery, London

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Richard Billingham Ray in Bed, 1999 Betacam SP, 5 minutes 30 seconds Copyright the Artist, courtesy Anthony Reynolds Gallery, London

[OLYL HSS [OL [PTL HUK [OL` VăLYLK TVYL pictorial possibilities if you like. I suppose in other households you don’t see dogs lying VU [OL ILKZ VY ZVMHZ VY Å`PUN [OYV\NO [OL air. In Rays a Laugh you do and I guess it doesn’t appear from looking at the work that those boundaries between pets and humans exist. So maybe the pets seem to have more presence than they otherwise would.

B: Following your photographic documentations of your family, you moved PU[V ÄST KVJ\TLU[H[PVU >OH[ KPK [OL UL^ medium bring to your subjects? RB: I suppose it gave another dimension to them because you saw Ray, Liz and Jason move about and talk. It also meant I had to take the viewer from A- B and/or provide some kind of narrative or trajectory. I felt the video work couldn’t just be only ‘observational’ like the photographs in Ray’s a BLANCHE 82

Laugh, with sounds and dialogue and so on left to the viewer’s mind/imagination.

)! +VLZ [OL HKKP[PVU VM ZV\UK PU ÄST HS[LY your visual approach? RB: Well, sound is just as important as PTHNL PU ÄST PU NP]PUN HUV[OLY ZLUZL VM the environment. I suppose it altered my approach which was instinctive at the time in that I would respond to the sound as well HZ [OL PTHNL PU [OL ÅH[ PU ^OLYL 0 MVJ\ZLK [OL video camera, what I framed and so on. )! +PK HU` WHY[PJ\SHY ÄSTZ VY ÄSTTHRLYZ inspire your to work with that medium? RB: Yes, I did really admire the ‘Terence +H]PLZ ;YPSVN`» 0 SPRLK [OL ^H` [OL ÄSTZ were like his memories and traversed time but not in any kind of chronological order. They traversed time in and emotional wayjust like your mind traverses time when you

think about your own memories. I found this inspiring. I also admired how he held on a static subject for long periods – building up intensity in the camera.

)! 0 OLHYK `V\ ^LYL ^VYRPUN VU ZVTL ÄST scripts now. Can you tell us more about that and other future projects, exhibitions, or publications? RB: I’m forty now and have had a long time [V YLÅLJ[ VU [OPUNZ 0 OH]L ILLU JVUZ[Y\J[PUN writing down narratives based on memory and experience- I guess you could call them scripts. Interview by: Alexia Villard and Neil Callender. Text: Andy Lacey Edited by Neil Callender

Jennifer Bornstein Geneveive in Bed, 2006 Images courtesy of the artist and Blum & Poe Gallery, Los Angeles, CA

IN HER COPPERPLATE ETCHINGS, JENNIFER BORNSTEIN GIVES PROMINENCE TO THE UNIQUE QUALITIES THAT MAKE WOMEN HUMAN.

Beyond an

ideal

or centuries, artists have been sculpting their particular vision of the female physique. Botticelli painted women as though they were gods ^P[O ]VS\W[\V\Z ÄN\YLZ HUK pure complexions; Picasso gave his muses HIZ[YHJ[ MLH[\YLZ [OH[ [VYL \W [OL ÄN\YH[P]L painting rule book; while Klimts images of the female form epitomised splendour and exuberance. Neo-conceptualist artist HUK ÄSTTHRLY 1LUUPMLY )VYUZ[LPU»Z ^VYR with the female nude, while apparently modern and simplistic, owes a stylistic debt to the old masters. Speaking of the works of Rembrandt, whom she featured in a recent curatorial stint at LA’s Hamer Museum, Bornstein said, “I envy his skill. That blackness requires an enormous amount of obsession. It’s absolutely gorgeous and beautiful.” Bornstein favours monochrome etchings on copperplate, in the shadows of her nudes in relation to their bodies is emphasised. The JSLHU SPULZ HUK LăLJ[P]L KL[HPSPUN ZVTL^OH[ resemble the unfussy and straightforward sketches produced by Picasso in the early

Beauty 1920’s. For most artists, the monochrome sketch is an early stage in a work’s KL]LSVWTLU[ I\[ PU )VYUZ[LPU»Z P[ PZ [OL ÄUHS stage of perfect imperfection. Bornstein gives prominence to the unique qualities that make women human and not airbrushed pin-ups. Their breasts do not defy gravity, their pubic hair that is untamed, their bodies are not sculpted or toned. Plato said that, ‘’Beauty of style and harmony and grace

“NOTHING IS REALLY BEAUTIFUL BUT TRUTH, AND TRUTH ALONE IS LOVELY.” NICHOLAS BOILEAU and good rhythm depends on simplicity’’ and that’s exactly what Bornstein’s work has, simplicity, and within that is an honest beauty, one that is understandable and not lavished with illusions. Her work reminds us of the realities of our bodies especially as we get old.

We see our laughter lines etched on our faces, the scars of our adventures or misfortunes on our bodies, perhaps a rounder physique as a testament to a life that has been lived. Her work is not realism but it is honest. At her recent exhibition at Amsterdam’s Stedelijk Museum, Bornstein’s recreated the archived photographic material of Yvonne 9HPULY PTP[H[PUN [OL SLNLUKHY` ÄSTTHRLY and choreographer’s hypnotic and trance like routines with a cast of young naked women. None of her stills are of stationary poses, but like Matisse’s ‘’Dance (l)’’, capture a moment from a sequence which will never be performed again. That the women are naked reminds us that our appearances too are in a constant state of movement, always changing. Borstein’s work however is not pessimistic about the body or its fate, but rather speaks frankly and celebrates what is natural. As Nicolas Boileau so perfectly put it ‘Nothing is really beautiful but truth, and truth alone is lovely’. Text: E.M Edited by Neil Callender BLANCHE

The

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THE RECENT TAO OF NATURE EXHIBITION AT MUSEUM OF CONTEMPORARY ART, SHANGHAI SHOWED THAT THE CHINESE URBANITES’ APPETITE FOR THEIR NATION’S HISTORY EXTENDS BEYOND ZHANG YIMOU SWORDPLAY FLICKS. BLANCHE LOOKS AT SOME OF THE YOUNG ARTISTS EMBRACING THE 2000- YEAR OLD PHILOSOPHY AND MAKING THE ANCIENT MODERN.

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Liang Quan Ancestors Sea - 1, 2010 Triptych Ink , Colour and Rice Paper collage on Linen

Left: Liang Quan Ancestors Sea - 3, 2010 Triptych Ink , Colour and Rice Paper collage on Linen Next Spread: Liang Quan My Diary of Tea - 3, 2011 Triptych Ink , Colour and Rice Paper collage on Linen BLANCHE

“MY ART WORK IS MOVING ON IN THIS ENDLESS CHAOS BUT I FEEL GOOD ABOUT IT. I AM WAITING, THINKING, THINKING, AND WAITING. I AM ANXIOUS AND I CANNOT THINK OF ANY QUESTIONS. PERHAPS ALL QUESTIONS ARE RESOLVED ALREADY, OR PERHAPS THERE IS NO QUESTION AT ALL. I AM PLEASED IN THIS IRREGULAR, DELICATE, AND REAL WORLD. I CONTENT MYSELF WITH TRANQUILLITY AND THE LACK OF AMBITIOUS PLAN: I DO NOTHING.” LIANG QUAN

U[PJPWH[L [OL KPĄJ\S[ I` managing the easy; If you do not change direction, you may end up where you are heading; When I let go of what I am, I become what I might be; these are just a few beguiling quips from the of the intriguing but notoriously OHYK [V KLÄUL ILSPLM Z`Z[LT VM ;HVPZT >OPSL outlawed during the Cultural Revolution, Taoism’s presence in the preceding two thousand years of Chinese history means it OHZ WSH`LK ZPNUPÄJHU[ YVSL PU [OL JYLH[PVU VM the national character alongside Buddhism and Confucianism. Taoism is no longer restricted in the country of its origin, but it is hard to see how its principles could exist comfortably alongside the new capitalist impulse of the world’s most vibrant economy. The recent ‘Tao of Nature’ exhibition at the MOAC, Shanghai, suggests that in contemporary art, the philosophy often manifests itself as part of a wider nostalgia for ancient Chinese history and culture, evidenced by Li Lei’s richly illustrated landscapes inspired by old myths and folk customs, and the traditional calligraphyPUÅ\LUJLK ^VYRZ VM AOHUN /HV HUK /\HUN Yuan Qing. Of the work on show, however, the spirit of Tao manifested itself perhaps most explicitly in the paintings of Liang Quan HUK [OL ÄIYL HY[ VM :OP /\P The former’s interest in his country’s ancient traditions occurred relatively late in his career while exploring the colours in the dying [YHJLZ VM [LH JVăLL HUK *OPULZL TLKPJPUL After ten years of teaching at the Zhejiang Academy of Fine Arts, in the great tradition of Chinese poets, artists, and philosophers, Liang Quan sought new residence in a place of mountainous tranquillity, relocating to the countryside of Guangdong near Shenzhen. Liang Quan’s early work had been favourably compared to the abstract artist Cy Twombly BLANCHE

with its colourful collages and suggestions of form. He enjoyed success but as his concepts matured, the “colourful structures and youthful passion” of his old paintings looked to him as though they are not his own. 3PHUN 8\HU SLM[ /HUNaOV\ [V ÄUK H UL^ individuality of expression, perhaps following the advice of Taoism’s spiritual father Lao Tzu who advised, “He who knows others is wise. He who knows himself is enlightened.” Liang Quan describes his new artistic explorations as giving up the careful ‘fullness’ in painting and instead putting ‘emptiness’ at the core of his work. “When the relationships between the lines are handled in a sophisticated way, they will become real substance that maintains balance,” he explains. “These trivial lines seem meaningless when separated. However, once they are put together without rules, the painting is completed. The ‘richness’ and ‘emptiness’ come to an agreement.” The pursuit of emptiness relates to the Taoist principle of action without action. The Tao Te Ching states, “Do you think you can take over the universe and improve it? I do not believe it can be done. The universe is sacred. You cannot improve it. If you try to change it, you will ruin it. If you try to hold it, you will lose it.” Taoist philosophy is inspired by the workings of nature which transpire successfully without man’s intervention. For his paintings, which he describes as ‘abstract landscapes,’ Liang Quan employs a colour palette which is neutral like nature itself; one which is beautiful without being forced to be so. He guides our eyes through his compositions in a similar way to traditional Chinese landscape artists, using multiple points of perspective, allowing our eyes to follow a river from the foothills to the mountains in the distance, but does so without pictorial representation. Instead his vertical tea and water stained strips intermingle to create a

ZPTPSHY LăLJ[ :OP /\P NYHK\H[LK MYVT [OL Arts and Crafts Department of the Academy of Fine Arts in Zhejiang and began to study ^P[O [OL YLUV^ULK [HWLZ[Y` HUK ÄIYL HY[PZ[ 4HY` =HYIHUV] /LH]PS` PUÅ\LUJLK I` Varbanov’s teachings, Shi Hui uses the traditional Chinese materials of paper pulp, cotton, hemp, bamboo, wood, intertwining them to create natural juxtapositions that seem to grow into space. Her work is visually complex, as is the process of its construction, however, her descriptions are innately simple. She does not use conceptual vocabulary to discuss her creations, but instead uses titles such as Nest, Knot or Pillar, allowing her work speak for itself. Like Liang Quan, she explores the concept of ‘Emptiness’ as an ideal but more in terms of materiality rather than composition. Old Wall, created in 2003, consisted of pure white paper spanning wooden posts. Drained of the colour, texture, and wear that would \Z\HSS` KLÄUL HU HUJPLU[ ^HSS [OL ^VYR became a symbol of purity and a celebration of white paper. As well as making her own paper, Shi Hiu recycles rice paper, xuan, covered in practice calligraphy In doing, so she usurps not only the function of the paper but also the idea of total abstraction. In seeing and understanding the letter forms, we are touched by something tangible, however, the recycled nature of the letters allows for a certain level of imagination. The recycling of existing scripts also allows for an element of chance to exist in Shi Hui’s work as she cannot control the original content. Liang Quan may appreciate such willing foregoing of control. In the face “of this endless and mysterious world,” he says, he does not struggle but submits himself to it. Text: Michelle Harvey Edited by Neil Callender

Damien Hirst The Physical Impossibility of Death in the Mind of Someone Living, 1991 Glass, steel, silicon, formaldehyde solution and shark © Damien Hirst and Hirst Holdings Ltd, DACS 2011 Photographed by Prudence Cuming Associates

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arly next year, Damien Hirst will present a simultaneous display of work in New York, London, Paris, Los Angeles, Rome, Athens, Geneva, and Hong Kong. Much like a luxury fashion house realises its collection globally, the Gagosian Gallery will dedicate each of its eleven locations to housing the complete collection of Hirst’s ‘spot paintings’, made between 1986 and 0[ TH` IL KPĄJ\S[ MVY HSS I\[ [OL ML^ /PYZ[ obsessed millionaires to view every collection, though no doubt a few will, but the high concept UH[\YL VM [OPZ PU[LYUH[PVUHS WYLZLU[H[PVU PZ Ä[[PUN for an artist whose name is synonymous with spectacle. Hirst emerged in the late 1980s as a member of the YBAs (Young British Artists), an association of recent art school graduates who began exhibiting their work in an unused industrial warehouse in the capital’s docklands. While they were garnering critical respect, they cannot OH]L ILLU V]LYS` VW[PTPZ[PJ VM ÄUHUJPHS Z\JJLZZ in a dire economic climate which lacked the free-spending Arab, Russian, and Chinese multi-millionaires of the current recession. /PYZ[ KPK OV^L]LY ÄUK H ILULMHJ[VY PU [OL MVYT Charles Saatchi, a collector who did not only have money to spend but as co-founder of the NSVIHS HK]LY[PZPUN ÄYT ^OPJO IHYLZ OPZ UHTL he knew how to promote. Saatchi bought many

of Hirst’s early pieces, including his infamous The Physical Impossibility of Death in the Mind of Someone Living (1991) (a shark suspended in formaldehyde), and helped fund exhibitions for the YBAs. The infamous 1997 Sensation exhibition, which showed that installation as well as other notoriously controversial works by leading members of the YBAs including Tracey Emin’s Everyone I have Ever Slept With 1963–1995 (1995) and Mark Quinn’s Self (ongoing project begun in 1991) (a replica of his head made from frozen blood), was criticised for using established public museums to boost the value of privately owned art.

In many respects The Physical Impossibility of Death In the Mind of Someone Living became a physical advert for the YBAs - a reference point, a headline grabber and a piece much smaller than the sum of its various notorieties. Like Hirst’s For the Love of God (2007), (a diamondencrusted skull) it can be termed a ‘spectacleVIQLJ[» ;OPZ PZ UV[ [V Z\NNLZ[ Z\WLYÄJPHSP[` HZ spectacle-objects serve a self-satisfying role, representing themselves in the circulatory parade of art and money, and deal with fundamental questions about the value of art. While Hirst’s :WV[ WHPU[PUNZ JHUUV[ IL JSHZZPÄLK HZ ZWLJ[HJSL art, the spectacle remains in the globeencompassing method of display. Text: Jenni Allison Edited by Neil Callender

DAMIEN HIRST ISN’T QUITE TAKING OVER THE WORLD, JUST ITS GAGOSIAN GALLERIES, BUT HIS NEW NINE CITY EXHIBITION IS A GRAND STATEMENT WHICH ONLY AN ARTIST OF HIS STATUS COULD MAKE.

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Welcome

IN MODERN ART, YAYOI KUSAMA OWNS THE POLKA DOT IN THE SAME WAY THAT JACKSON POLLOCK OWNS THE PAINT SPLASH. NEXT YEAR SHE WILL BE MAKING LONDON DOTTY WITH A MUCH ANTICIPATED RETROSPECTIVE OF HER WORK.

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World to my

“

If it were not for art, I would have killed myself a long time ago,” Yayoi Kusama once remarked. Raised by an abusive single mother in the socially and sexually constrictive society of pre-war Japan and plagued by mental illness and hallucinations since childhood, Kusama needed a way out and thankfully found it in art. It was less a decision as a compulsion. She once claimed to work MVY Z[YL[JOLZ VM ÄM[` VY ZP_[` OV\YZ H[ H [PTL and her style is suggestive of the OCD with which she was later diagnosed. Her endless repetition of the polka dot image throughout her sixty year career suggests that it is the visual manifestation of her inner self, something which she cannot contain and instead pours out over the art spaces of the world. “Since my childhood, I have loved the round image of the dot,” she says. “Over several decades, dots have created, working together with net patterns, various types of paintings, sculptures, events and installations. They have indeed been moving freely about in the heaven of forms and shapes. Dots have taught me the proof of my existence. They scatter proliferating love in the universe and raise my mind to the height of the sky.” The unmistakable visual style of her polka dot works has translated into a lot of attention, beginning in the late 1950s when she moved [V 5L^ @VYR HUK ILJHTL H WYVTPULU[ ÄN\YL in the city’s Avant Garde and Pop Art scenes;

Yayoi Kusama The Clouds, 1984 Sewn stuffed fabric, paint Copyright of Yayoi Kusama, (c) ANZAI Courtesy of Victoria Miro Gallery / Ota Fine Arts, Tokyo / Yayoi Kusama Studio Inc. Photograph courtesy of: Mr. Shigeo Anzai

and later into a lot of dollars with the $5.1 sale of a Kusama painting at Christies in 2008 representing the greatest fee recouped for the work of a living female artist. The irony of achieving such individuality in style through an act of endless repetition is of no interest to Kusama. Her work is cathartic and teeters on the brink of Art Brut JSHZZPÄJH[PVU >OPSL ZOL MYH[LYUPaLK ^P[O 7VW

“Polka Dots ARE A WAY TO INFINITY.” Kusama (Y[ ÄN\YLZ K\YPUN OLY [PTL PU (TLYPJH [OL repetition in her work is not similarly inspired by mass consumerism, but rather emanates from the regimented and conformist society in which she spent her formative years. In Japanese culture, repetition is a way to perfection, be it in education, martial arts, sport, academia, or painting. Such discipline JHU `PLSK THNUPÄJLU[ YLZ\S[Z I\[ MVY H MYLL spirit like Kusama, repetition in pursuit of HJOPL]LTLU[ HUK WLYMLJ[PVU PZ Z\ăVJH[PUN HUK contrary to individuality. As a way of resisting [OL UVYTHSPaPUN LăLJ[Z VM H JVTW\SZVY` WVSP[PJHS HUK ZVJPHS SHUKZJHWL ZOL HăLJ[Z P[Z [YVWLZ ^P[O [OL Z[\ă VM OLY \UPX\LS` L_WYLZZP]L mind. In her paintings, collage, sculpture, and environmental installations, Kusama has KL]LSVWLK H ZLSM YLÅL_P]L WPJ[VYPHS SHUN\HNL that channels a poetics of the personal to espouse commentary about the world around her. These works expose something

fundamentally inadequate in day-to-day life, most explicitly in terms of our lack of sensuality with the world around us. In Kusama’s work there are no restrictions and no borders. “They bring people around to [OL PKLH VM [OL PUÄUP[` VM [OL JVZTVZ HUK [OL beauty of life,” she says. “Nothing I do stays in the gallery space. Everything I do is a walk in my mind. There are no limits.” Her polka dots spread like a happy virus, infecting corners of our existences that were once familiar. Although de-familiarised, the objects and spaces she covers retain their former selves underneath the blanket of dots, inducing a moment of synthesis between what we see and what I see, reminding us of the importance of individual perception. While [OL )\KKOPZ[ HUK *VUM\JPHU PUÅ\LUJL PU Japanese culture encourages a negation of the self, and the abandonment of the concept of ‘I’, Kusama seeks to reclaim it for herself and for us. Now an Octogenarian, she continues to work for there is no abandoning her art. “With [OL NYLH[ LăVY[Z HUK I` [YHKPUN VU [OL LUKSLZZ wilderness that leads to creation, I want to ÄNO[ T` IH[[SLZ [V [OL LUK ^P[O HSS T` TPNO[ ¹ ZOL ZH`Z ¸-VY [OPZ 0 JHU»[ HăVYK [V ^HZ[L L]LU a moment. Looking back and realizing that I have spent years of hardships, I am now more determined than ever to struggle even more strenuously with the questions of what is a human being, and what is ‘love’, ‘life’ and ‘death’.” A retrospective of Yayoi Kusama’s work will be on display at the Tate Modern from 9 February – 20 May 2012. Text: Andy Lacey Edited by Neil Callender BLANCHE

byWONG

LOVE

KAR WAI

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FEW QUESTIONS PARIS’S STATUS AS THE ‘CITY OF LOVE’, BUT IN THE FILMS OF WONG KAR WAI THE POLLUTED ASPHALT JUNGLE OF HONG KONG MAKES A WORTHY CHALLENGE TO ITS TITLE.

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f I didn’t live in Hong Kong, my style ^V\SK WYVIHIS` IL KPăLYLU[ ¹ ZHPK Wong Kar Wai. “The only way I can THRL H ÄST PU H WSHJL PZ PM 0 RUV^ the place well and the people well, and I think I know Hong Kong ^LSS ¹ >VUN PZ [OL ÄSTTHRPUN LX\P]HSLU[ of a sensitive street poet. He doesn’t shoot PU [OL TVKLYU VĄJL Z\P[LZ NSP[a` OV[LSZ and sea view mansions which populate [OL /VUN 2VUN ÄST PUK\Z[Y`»Z HJ[PVU HUK comedy genres, but in Kowloon’s grimy neon-lit alleyways, noisy 24 hour restaurants, O\TPK MHU JVVSLK VĄJLZ Z^LH[` JS\[[LYLK apartments, in doorways looking into torrential rain, in the blue-ish pre-sunrise haze. He takes us so close to the streets that we can almost smell the cooking dim sum.

Hong Kong, a special administrative region of the People’s Republic of China, is a chaotic business and transport hub where money and people are constantly passing through on the way to somewhere else. If this doesn’t induce in the minds of its citizens a feeling [OH[ [OLPY JP[` PZ UV[ H ÄUHS KLZ[PUH[PVU [OLU perhaps it is the incredible density of its population, the industrial pollution drifting in from Guangdong’s factories, or the notorious humidity which inspires dreams of escape. Often Wong’s characters will choose that escape above everything else. At the point in BLANCHE 92

the Hollywood romance when the male and female protagonists are moving in for the letsstay-together-forever kiss, Wong’s are saying goodbye. The restraint and patience displayed by the lovers in Wong’s movies is perhaps impossible for international audiences to truly understand. The protagonists of In the Mood for Love (2000), an estranged husband and wife who fall for each other while discovering that their respective spouses have been OH]PUN HU HăHPY MHTV\ZS` [V\JO VUS` VUJL in the movie and then it’s only a brief locking VM ÄUNLYZ PU [OL IHJR VM H [H_P ;OPZ SHJR VM on-screen bodily contact can be found in most VM >VUN»Z ÄSTZ 0[ PZ UV[ H JOVPJL PTWVZLK upon him by censorship, but more one which PZ YLÅLJ[P]L VM [OL /VUN 2VUN WLYZVUHSP[` an inability to express the emotion of love, as if too much is at stake. “In the old days, if someone had a secret they didn’t want to share... you know what they did?” asks Chow in In the Mood for Love. “They went up a mountain, found a tree, carved a hole in it, and whispered the secret into the hole. Then they covered it with mud. And left the secret there MVYL]LY ¹ ;OL WYLZLU[ [PTL PZU»[ T\JO KPăLYLU[ from the old days in Wong Kar Wai’s Hong Kong. His characters are full of secrets and emotions never articulated to the person who most needs to hear them.

Wong’s men are vocally inexpressive with the women they love but talk freely to bars VM ZVHW [V Z[\ăLK HUPTHSZ [V [OLTZLS]LZ Physically they express themselves only through violence or with loose women or prostitutes with whom they have little emotional connection. Speaking of the relationship Chow has with Bai (Zhang Ziyi) in 2046 (2004), actor Tony Leung says, “They both pretend it’s a simple transaction, even as their passion rocks the hotel and lights up the screen.” Wong asked Leung to base OPZ WVY[YH`HS VU [OL ÄJ[PVUHS WLYZVUH VM [OL LA poet and novelist Charles Bukowski, an alcoholic sex-addict who is bullish and KPYLJ[ ^P[O ÅPY[H[PV\Z ^VTLU I\[ ZO` HUK nervous around the ones he truly loves; a content loner; a human hive of emotions which are rarely explicitly articulated. These are the personality traits of many of Wong’s THSLZ ;OL` ÄUK TVTLU[Z VM QV` I\[ UL]LY true happiness, they sit down and go to bed I\[ [OLPY ZV\S UL]LY ÄUKZ H WSHJL [V YLZ[ VY H woman to rest with. “I’ve heard that there’s a RPUK VM IPYK ^P[OV\[ SLNZ [OH[ JHU VUS` Å` HUK Å` HUK ZSLLW PU [OL ^PUK ^OLU P[ PZ [PYLK ¹ ZH`Z Yuddy in Days of Being Wild (1990). “The bird only lands once in its life... that’s when it dies.” Not many actors and actresses have what Wong needs, that ability to express

Film stills courtesy of Fortissimo Film Sales

“THE FILMS, ESPECIALLY CHUNGKING EXPRESS, WERE MADE IN THAT SPECIAL SPACE WITH THAT SPECIAL ENERGY CALLED HONG KONG. THERE WAS AN ASPIRATION TO DO SOMETHING A LITTLE BIT OUT OF THE ORDINARY. I THINK WE BOTH HAVE A VERY, VERY STRONG FEELING FOR LITERATURE. FOR US, STRUCTURE IS LOOKING FOR FORM THAT IS MORE NOVELISTIC IN THE SENSE OF MAGIC REALISM OR SURREALISM OR SOMETHING LIKE THAT. WE TALK MORE ABOUT BOOKS THAN WE TALK ABOUT FILMS. ACTUALLY, WE DON’T REALLY TALK ABOUT THE FILMS — WE JUST GET ON WITH IT.” CHRISTOPHER DOYLE

complicated emotions without a word. For his male leads he repeatedly chooses Tony Leung, and for his females Maggie Cheung, Zhang Ziyi and Li Gong, actresses who can ZH` HZ T\JO ^P[O H ÅLL[PUN NSHUJL H [PS[ VM [OL head, a change in posture, or an imperceptible rearrangement of facial muscles, as most Hollywood actresses could with a page of dialogue. There is of course an ambiguity in what exactly they are expressing. Like the traditional qipao dresses of In the Mood for Love and 2046, they suggest rather than show. That Wong protects his women, never showing them naked of screen, gives

them that unattainable quality of the female stars of golden age Hollywood. In exchange however, they must surrender themselves to their director, playing roles which don’t suit their image. Fay Wong, the Madonna of 90s Cantopop played a takeaway counter assistant in Chungking Express (1994), dancing clumsily to The Mamas and the Papas, adorned with baggy cheap t-shirts, and a manga boy haircut. In the same movie, the Asian superstar Bridgette Lin’s face is almost hidden for the duration behind sunglasses and a blonde wig. Andy Lau ^OV Z[HYYLK PU >VUN»Z ÄYZ[ TV]PL +H`Z VM

Being Wild remarked, “I believe in general he (Wong) does not like and he would not want his actors to show their true looks and their true personality on screen.” >VUN 2HY >HP»Z UL_[ ÄST The Grandmasters, is scheduled for release in 2012. The story of Bruce Lee’s trainer Ip Man stars Tony Leung, Zhang Ziyi and Chen Chang. Features Editor: Neil Callender

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s horror! hock

IN THE LAST FEW YEARS, PAUL MCCARTHY’S GIGANTIC SCULPTURES, FACTORY PRODUCTION METHODS, AND SWELLING STAFF NUMBERS HAVE REFLECTED HIS ELEVATION TO CONTEMPORARY ART’S A-LIST, YET THE SPIRIT AND SHOCK-VALUE OF HIS EARLY PERFORMANCE WORK HAS REMAINED.

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aul McCarthy’s long standing work at the Tate Modern consisted of a number of video works ZLJ[PVULK Vă MYVT [OL THPU galleries with an ‘adults only’ sign at the entrance. The warning was not without reason. In this exclusive space, a procession of gallery-goers and foreign tourists would stand gaping at the screen as McCarthy, wearing a curly blonde wig, sat naked in a bathtub, holding what seemed to be a turd, dousing himself with ketchup, chocolate sauce, and mayonnaise. Images of violence, blood, and psychopathic behaviour are now commonplace in primetime television and the mainstream Hollywood movie, and we are apparently becoming desensitized to these things, yet Paul McCarthy’s video and sculpture work

continues to shock. According to Charles Riva, who recently exhibited his collection of the artist’s work at his Brussels gallery, “(This) may have something to do with the production quality, which feels somewhat real, somewhat un-scripted even with the use of typical cinematic devices and “tricks” of MHRL ISVVK HUK MHLJLZ >P[O /VSS`^VVK ÄSTZ there is a general understanding that what we are watching is make-believe, and yet with McCarthy’s performances for example, one has the impression that they are watching something at the very limit of what is fact and ^OH[ PZ ÄJ[PVU ¹ Paul McCarthy achieved his early infamy as a performance artist. In 1977 he sprayed a college classroom with ketchup, threw himself around the room until on the verge of passing out, then attempted to insert a plastic children’s

toy into his anus. While he moved from live WLYMVYTHUJL PU[V ]PKLV HUK ÄST PU [OL Z the spirit and imagery of this performance, entitled Class Fool recurred throughout his varying forms of address. McCarthy’s work, like a number of horror movies of that time, generated shock through invading the places where we feel most secure. As with the killer Santa Claus in Black Christmas (1974), the psychopathic doll in Childsplay (1988) or the sinister theme park of Funhouse (1981), McCarthy depicted the ÄN\YLZ ^L HZZVJPH[L ^P[O W\YP[` HUK PUUVJLUJL becoming crazed and violent, and our places of fun and safety as the settings for bloodletting and abuse. For the video work Tokyo Santa (1996), McCarthy dressed as a grotesquely deformed Father Christmas cutting his tongue with a kitchen knife, while in Pinocchio BLANCHE

“MCCARTHY’S WORK IS, AT THE VERY BASE, INCREDIBLY HUMAN. HE IS TACKLING THE LIMITS OF HUMAN TENDENCIES, THINGS WHICH ARE PERHAPS INSIDE ALL OF US AND YET SO RARELY MANIFEST OUTWARDLY. AT THE SAME TIME, THERE IS A CERTAIN HUMOUR AND VIBRANCY WHICH IS CONSTANTLY PRESENT AND I THINK VERY ATTRACTIVE TO THE VIEWER.” CHARLES RIVA

Pipenose Household Dilemma (1994), a sadomasochistic domestic drama was played out between a Pinocchio doll and a man in an almost identical suit. The Hollywood horror movie created the notion that nobody and nowhere is safe as a shock tactic but rarely transcended the visceral expectations of the genre. In its particularity however McCarthy’s work is equally valid as cultural commentary. His characters are usually not just any doll or his settings HU` [OLTL WHYR [OL` HYL ZWLJPÄJ JSVZLS` resembling their popular representations - Disney’s Pinocchio, Coca Cola’s Santa Clause, and if the legends are true, the plastic ÄN\YL OL [YPLK [V WLUL[YH[L OPTZLSM ^P[O PU Class Fool was Barbie. All are popular fantasy ÄN\YLZ ^OPJO LU[LY [OL THZZ JVUZJPV\ZULZZ HZ something clean, pure, and wholesome. Even the aforementioned tomato ketchup, chocolate sauce, and mayonnaise prevalent throughout OPZ ^VYR ^OPSL YLWYLZLU[PUN [OL IVKPS` Å\PKZ which they most closely resemble (readers JHU THRL [OL JVUULJ[PVUZ HYL ZPNUPÄJHU[S` also the condiments of the sanitized fast-food chains of America, institutions designed to create an atmosphere of timelessness, cleanliness, and safety. McCarthy’s work can be seen as a reaction against what he perceives to be the absurdity of our heroes and sanctuaries. Beyond the uncomfortable aesthetic, it is perhaps this diagnosis which most shocks. McCarthy is not seeking to recreate random nightmares inspired by watching Disney animations too close to bedtime, but in fact a world which is closer to reality than the world we commonly perceiveBlanche spoke to Charles Riva BLANCHE

about the artist with whom he has had a long fascination:

The work in your collection spans almost 20 years and includes a range of mediums. How has the artist’s work developed philosophically and artistically over that time? McCarthy’s work really has its base in performance and video - almost everything he makes comes out of his performances, including the “portfolio” and the “propos objects”. More recently Paul McCarthy has been making multiples in silicone and other materials, which are fascinating collages of objects which create strange juxtapositions and hybrid forms. I think this is another way to explore his ideas on consumer culture and on re-interpretation. A lot of his work is derived from American pop culture - children’s TV, Disney, Hollywood, and the mythology of the ‘Old West’. Do you ILSPL]L [OH[ OPZ ^VYR PZ YLJLP]LK KPăLYLU[S` PU Europe and America? There is of course a certain intimacy with the subject matter in America; consumers there identify with products such as ketchup perhaps more innately than in Europe. But at the same time, there are fewer cultural borders now that the work is understood in Europe just as it is in America. After all, the desires, MLHYZ HUK JYP[PX\LZ 4J*HY[O` VăLYZ HYL Q\Z[ HZ relevant here as they are “there”. Much of his work is rooted in a similar place to Pop Art in that it uses altered objects of popular culture, and seems to critique or analyse the mass media and consumer society. Would you classify his work as Pop or NeoPop?

McCarthy would perhaps disagree with both. His work is interesting precisely because it ÄUKZ P[Z ^H` PU[V H U\TILY VM TV]LTLU[Z (pop or neo-pop perhaps, but also Viennese Actionism, etc.). It is clear in each case that his work has arisen from the early 1970’s exploration of performance and video as a medium, a scene from which much of the work from that era arose from bodily limitations. McCarthy’s work separates itself from other early performance artists by introducing YLWSHJLTLU[Z MVY IVKPS` Å\PKZ ^P[O JVUZ\TLY products: what can ketchup simulate, and why KVLZ [OPZ ZLLT ZV Ä[[PUN&

You are displaying the video work Heidi. In that Alpine myth, and the situation of a grandfather living alone in the mountains with his granddaughter, McCarthy imagined something dark and depraved. So too with Santa Claus or the mythologies of Disney. What provokes his response to these supposedly ‘harmless’ or ‘innocent’ myths? Our general understanding of these mythologies (often what we know from Disney ÄSTZ PZ TVZ[ VM[LU MHY MYVT [OL VYPNPUHS [LSSPUN of the story. European and American folklore has an extremely violent past, its writers often JO\YUPUN WYL[[` KHYR Z[VYPLZ [V ÄUK H TVYHS ending. When McCarthy appropriates the mythologies of Santa Claus, Pinocchio, or Heidi, he is pushing the story past its comfortable popular limits, using the story as a catalyst to expose the limits, weaknesses and excesses of humanity. Paul McCarthy abandoned performing in front of an audience in the mid-1980s and ILNHU YLJVYKPUN VU ÄST HUK ]PKLV PUZ[LHK Your exhibition includes stills from a video

“MCCARTHY’S WORK REALLY HAS IT’S BASE IN PERFORMANCE AND VIDEO - ALMOST EVERYTHING HE MAKES COMES OUT OF HIS PERFORMANCES.” PAUL MCCARTHY

work, Pirate Party, which involved actors, a cinematographer, an editor, and a director. How does documenting/recording change the LăLJ[ VM H WLYMVYTHUJL VU [OL ]PL^LY& The strange thing about McCarthy’s “portfolio” series is that once you see the work hung, it retains a certain performativity. The scenes are so graphic and chaotic that you are at once drawn into the unfolding story in all its mania. At the same time, the question of documentation of performance is an old one in contemporary art history, begging the question of what is left if the action is not documented, what is the purpose of a

limited audience. McCarthy tackles this question head-on in almost all his work, as I’ve mentioned before. In choosing to document the performance in still format, the work retains a certain ephemerality, one unable to be ever re-witnessed, while retaining the ability to be disseminated, eventually ending up as an object in the form of a photo portfolio.

McCarthy said in 2001 that he is no longer aware of a viewer/audience when producing his art. However, his work certainly provokes a response from the viewer. Should we consider his work intellectually or is the communication

immediate and emotional? So much of McCarthy’s work is focused on just [OPZ Q\_[HWVZP[PVU! OV^ JHU ^L ÄUK JYP[PX\L VM THZZ JVUZ\TLYPZT ¸+PZUL` ÄJH[PVU¹ L[J PU the most basic of human elements. A reaction to McCarthy’s work, then, usually leads to a bit of both: there is the undeniable emotional reaction to seeing the limits of human existence, but there is the tendency to see through this and toward McCarthy’s critiques. To what do you attribute McCarthy’s popularity with the art-going public? McCarthy’s work is, at the very base, incredibly human. He is tackling the limits of human tendencies, things which are perhaps inside all of us and yet so rarely manifest outwardly. At the same time, there is a certain humour and vibrancy which is constantly present and I think very attractive to the viewer. Features Editor: Neil Callender BLANCHE

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