Born in Paris.



Where dry January turns damp

So, it’s confession time. Dry January has turned into damp January, fuelled by my utter lack of resistance to a martini, served green side-up with two juicy olives – one of my Five-a-Day, right? Is it wrong of me to say it was the best thing I tasted all week? Well, we all needed some cheer in what’s referred to as the gloomiest week of the year, and I thanked my lucky stars for the arty week that was in London. There were some whoppers on the menu, starting with French neo-Impressionist Pierre Bonnard, followed by some soggy viewing at the Royal Academy, and finished off with a sneak peek inside the neo-Gothic home of the world’s richest American. It’s safe to say that by the end of the week, I was culturally drenched.



Pierre Bonnard at Tate Modern

Thank you, Tate, for injecting some well-needed colour into a week which could have gone down the fifty shades of grey route. Its new exhibition,Pierre Bonnard,记忆的颜色,gets its title from the painter’s clever technique of reimagining memory onto canvas. Bonnard liked to take his cues from the mind’s eye.

Pierre Bonnard, Tate Modern, neo-Impressionist


Bonnard swapped the easel for the wall, pinning his canvases in such a way that he could work on several side by side (“to work with imposed sizes is intolerable”). Despite these large spaces, physical or those of his mind, Bonnard’s works are all about emotion, intimacy and detail: from his close-ups of a woman in a bath (more often than not, his long-term partner, Marthe de Méligny) to his collection of pastoral nude Polaroids. Méligny certainly spent a lot of time in the rude.

The Tate’s exhibition brings together some 100 works from around the world. The last time Bonnard was in town was 20 years ago. I hope he doesn’t leave it that long for his next visit.皮埃尔·博纳尔:记忆的颜色是在泰特现代美术馆于5月6日。


There was a lot more H2O coming my way, this time inside the Royal Academy and in the company of video artist Bill Viola. A cavernous exhibition (don’t come if you’re uncomfortable walking around in the dark)Bill Viola/Michelangelo, Life, Death, Rebirthjuxtaposes 12 major Viola video installations with 15 works by Michelangelo, most of which are on loan from Her Majesty the Queen. The Academy would like us to believe that these two artists, working five centuries apart, are somehow connected thanks to their affection for spiritual art and their visual narration of the journey of life from birth to death.

比尔•维奥拉,米开朗基罗,皇家学院, A Children’s Bacchanal

Michelangelo, A Children’s Bacchanal, 1533 (on Loan by Her Majesty the Queen)

维奥拉的作品是很难看,但你不能撕裂你的眼睛。女人生完孩子肩膀中提琴的母亲在医院的病床上奄奄一息的视频的视频。突然,米开朗基罗A Children’s Bacchanal,不守规矩的行为幼儿一帮非常糟糕,似乎比较挺温顺。

我不会说谎 - 这一个给我留下了有点困惑。维奥拉的作品惊险,震撼,感动和在同等程度扑朔迷离。但是,为什么我们需要看到他为米开朗基罗的同床异梦?话虽如此,中提琴/米开朗基罗无疑引起了小镇的轰动,没少与所有我们的博客。毕竟,这不正是艺术是怎么一回事?Bill Viola/Michelangelo, Life, Death, Rebirth是在皇家学院,直到3月31日。



Two Temple Place, John Ruskin, Power of Seeing, William Waldorf Astor, neo-Gothic, London

马家威廉·沃尔多夫阿斯特之后,最富有的n on the planet, Two Temple Place is a Gothic masterpiece. The house is marking the bicentenary of the birth of Britain’s most famous Victorian art critic by bringing together over 190 works which illustrate Ruskin’s attitude to beauty and his views on culture. The exhibition also reveals his contemporary influence in the arts, education and in the environment.


特纳上消失一天,威廉 - 帕洛特,1846年

And it’s all free! I’ve said this before, and I’ll say it again: we Londoners are the luckiest culture vultures in the world with our free access to museums, galleries and historic houses. There’s no excuse to say you can’t go – Ruskin might just bite your head off it you tried.约翰·罗斯金,眼见的力量在两个庙的地方,直到4月22日。


你会很高兴知道的第一件事是,Leave to Remain在抒情哈默史密斯是不是Brexit。欢呼。你需要知道的下一件事是,它是1小时50分钟,无间隔,所以你可能要重新考虑该预影院饮料你得到你的屁股停到台前。


Tyrone Huntley and Billy Cullum in Leave To Remain at the Lyric Hammersmith. Photo Helen Maybanks

由马特·琼斯阵营党的词曲作者,凯尔勒·奥克雷克写新的音乐,Leave to Remain比它的故事更多 - 同志情,吸毒和比赛,这我们都见过。音乐和生产的肉体赢得这里的一天,从整体合奏一些严重的演技实力在一起。











特色图片:皮埃尔·博纳尔,阳光在Veronnet, National Museum of Wales, Cardiff



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