Get hyped. Pennywise is on his way back!

The sequel to Stephen King’s It, remade two years ago, will be hitting the cinemas this September.

Here’s the promo trailer:

IT: Chapter Two trailer

In the trailer, Pennywise’s daughter, an old woman now, appears to be sweating excessively. Many fans expected Pennywise to burst out of her chest.

Old family photos of Pennywise and his children have his sunny disposition of undertones in his character.

This time, he is not hooking into fears. The adults mastered how to manage them.

He is after broken hearts, going much deeper into the psychological impact of trauma in adults.

Even if the movie was released in the middle of the summer, I would still surely escape to the darkness for a couple of hours for what appears will be an indescribable dark viewing.

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In my shoes

It all begun late at night walking the streets of Rome.

Me and a bunch of Italians, in our 20s where walking to a place I can’t quite remember now.

I can recall the excitement of the new experience ahead, a new thing to discover, having fun, drifting from one place onto another.

Coming back to art school, developing the photos, I realised having taken a photo of our feet, walking. This small and unimportant detail became the point of recall of what the hang out felt like at that point in time.

The style, became a thing over the years.

Photos of shoes on feet in places. They were taken when there was time to absorb the moment. When life paused. A documentary without the documentation, yet a personal moment of just being.

The following photos follow the trail of moments over the past twelve months or so, from early 2018.

This is something I wanted to do for awhile. There may be more from the past in blog posts to come, or of moments from further back into the past.

Take a walk with me…

This was taken in Methoni, in summer 2018, walking through the village late evening
Taken at my stylist’s back garden in North London
This was taken inside the beautifully serene riad, in the heart of Fez, Morocco
This is an odd one, but the stone paved ground rings Camden Town Market to me, at the Stables.
A Friday night at the Star in Bath “when in Bath…”
Leaving Stansted Airport after landing from summer holidays, full of vitamin D
At the Blues Bar, on a night out with Dad, Carnaby Street London
In Tromso, Norway, looking up at the northern lights
Attending a lecture by a friend in Central London, the Strand
Waiting for the train ride accross Cinque Terra, West Italy

Curatorial proposal

From the Contemporary Art in the Global (MSc School of Oriental and African Studies)

WE.LIVE.INDARKTIMES

Artists: Derek Walcott, Mark Rothko, Frank Bowling, Atsuho Tanaka, Sammi Baloji

The project visits the theme of darkness as it is approached by the selected artists through painting, poetry, installation art and photography. Dark times have for centuries been associated with the Dark Ages, the victorian times, the plague, III Reich, and the Crusades. Is darkness created in the name of God to entice a journey in reflection?
Darkness in this exhibition will be visited through the artists’ own periods and reflections of darkness. Starting with the more recent Baloji’s photographs have a strong post-environmental sentiment, yet all artists reflect on humanity’s over-consuming framework of aimless societal misappropriations maintained by irrelevance.
The artworks date from post-war period, aligned with the more recent works of Baloji’s diptych, for the provision of a bridging point on perpetual concerns about the loss of communities, citizenship and human rights that have been exaggerated, yet feel less visual, for the absence of blood.
The art on show reflects as much today, as they did at the time of making, that we are entering an autumn of social conscience exasperated by the informality and misappropriation of technology coercing the psyches onto a temporal loss and inaction.
Yet there must be resistance. Art is also a mirror up to the society, ourselves, in hope each individual visiting this exhibition will reflect a little and make a small step of resistance that translates into a big change.
When we don’t speak, we maintain darkness. Northwest indigenous communities have talked of ‘silence’ as a skill. ‘Silence’ used in diplomacy can present a show of arrogance or absence as in demonstration against what I’d said. Against that theory, words presented hide the things that happen in silence, including their potential to tell a different story.
Bringing artworks made by Rothko, Bowling, Tanaka, Walcott, and Baloji together distinctively plays to the audience responses, being of equal therapeutic importance as they were to the artists at the time of making. The five artworks have incredible ‘enlightening’ power’, offering a quiet introspective space for soul searching.
We would like visitors to individual notice which one artwork they are drawn to on their individual experiential pattern route, free from want and free from fear.

ARTWORK SELECTION

  1. Rothko. M, ‘Orange and Yellow’, 1956:

Rothko “Silence is so accurate.”
Yellow and orange make green; green the colour signifying life, renewal, growth, fertility, harmony, nature, freshness, energy, and safety. Rothko never wanted association with any art movement however he was pigeonholed as an abstract expressionist. The simplicity of Orange and Yellow cannot go without noting the technical challenge of keeping the colours separate so they don’t produce green. Is the artist pointing out that we are in the process of exploring our spirituality, and have not reached a harmonious existence yet?
A quest for ascension, Orange and Yellow has a ritualistic quality to the universe framed within the shuttle golden Buddhist orange outline. His work has often been described for its meditative qualities whilst remaining large, and non representational.
Barney Newman, the man inspired title of Frank Bowling’s work in the exhibition, saw himself as a political artist who has also shown his work outside Rothko’s Chapel in Houston, Texas.

  1. Bowling. F, ‘Who’s afraid of Barney Newman’, 1968

The painting is another major African flag colour representation Bowling is known for. Bowling is of Guyanese descent, a descendant of a slave, still surrounded by racism and race assumptions with participation in the First World Festival of Negro Arts, whilst being the first black artist elected in the Royal Academy of Arts with the artist recently receiving an OBE, continuing the colonial mode of tradition. His work was also shown at Afro Modern exhibition at Tate Liverpool in 2010’s, for significance the port of Liverpool having hosted the largest number of slave trade shipments in England.
The question is does Bowling rebel or commercialise further the idea of Africa in a place of exoticism and colonial frames? ‘Who’s afraid of Barney Newman’ was made in 1968, placed two years after the Guyanese independence from the British. Was Bowling raising awareness at a time when slave trade destinations were gaining independence from colonial rule?

  1. Tanaka, A. ‘Electric dress’ 1956

Atsuko Tanaka had one said “I wanted to shatter stable beauty with my work,” highlighting how domestic objects are but beautiful and disruptive from the lack of presence, yet plethora of being.
Tanaka’s silence covered by the bulbs in the original artwork, from a position of an emerging arts movement, could have represented silence as an imposition for a projection of power. In international relations frameworks, silence is mostly imposed by psychological violence, affecting the corporal of the most vulnerable, women, people of colour and those not integrated in the functionality of post Colonialism, and neoliberalism in the global and constitute political discourses and practice. (Dingli, Bhambra and Shilliam, 2009)

  1. Walcott, D. ‘Love after Love’, 1948–1984

Undoubtedly there is a pause in Walcott’s ‘Love after Love’ poem. Who inspired the poet to write this? Is it advice, or as I have always read this, as a love poem to oneself?
Derek Walcott passed away two years ago and his sea breeze of poetry is a timeless reminder to leave the insecurities we all carry, behind, and just be.
The meditative quality in the thought of spending time with oneself is not unlike Rothko’s iconographical ‘Orange and Yellow’.
Does it really matter who’s heart is broken or who broke whose heart? If anything, the world would become a better place if each and everyone reflected on the poem a little every day. After all, through love there’s light and the light lost in things that don’t work, is light lost.

  1. Baloji, S. ‘Kumbuka’, 2003

Stylistically ethnographical, the photographer has removed the orientalism and exoticism of indigenous communities, removed the smiles and colours and yellow grey toned the landscape, to represent Congolese as the Congolese see themselves. In this diptych he has interestingly kept women seperate to men. He plays with the Primitivist Theory of the artist as an ethnographer, whilst placing it in a contemporary context.
Artwork Labels

orange-and-yellow(1)6721995702035878555.jpgImage from eu.art.com
Rothko’s goal was “the elimination of all obstacles between the painter and the idea, and between the idea and the observer.” Rothko was known to suffer depression, reflected by the frame as a limit to happiness. Rothko was Latvian and Russian who went to primary and high school in Portland, Oregon – the ‘weird’ US city because of its rebel inquisitive population. His work invites the viewer to explore ‘metaphysical realities of their own consciousness’. The red a reflection emotional forces fighting nature a sea of blood at sunset, framed in limitation, stopping time, a photograph. The mesmerising quality of this work, is attracting attention even for non believers. The quality of light and Rothko’s interest in creating light reflects his religious iconographic approach to his frames.

t12244_10190182530184748032.jpgImage from https://www.wikiart.org/en/frank-bowling/who-s-afraid-of-barney-newman-1968
Bowling has expressed his frustration in an interview with Laura Barnett for the Guardian: “It seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion. For a while I fell for it.”
The Rastafarian flag of green yellow and orange, signifying the displaced africans living in exile as a result of the slave trade. Unlike Rothko’s clearly defined frames, Bowling’s use of colours is blending into one, another around the edges and without affecting or altering the core of the three colours. Could the merging of colours also point to different ethnicities merging into one in the Caribbean and South America, as a result of colonial rule. Think of the children of Chinese, Indian, Syrian and Spanish immigrants on post-colonial lands, the ‘dougla’, the ‘koolie’, the ‘red skin spanish’.
Or did he attempt to define frayed around the edges, maybe from wear and tear?
The impact of slavery remains as unaddressed as it was in 1968 as it is today. Microaggressions are all apparent. The artist, a slave descendant, opposed the idea of representing Caribbean art.

Electric DressImage from youtube https://www.youtube.com/watch?v=wUV-v3xI7Lw
Atsuho Tanaka’s electric dress, still lighting gallery spaces and discussions across the world, even after the artist’s death, in a timeless manner, originally the bulbs laid to cover her body, now exhibited without it.
In the West, a Christmas tree is something beautiful, pretty and a tacky representation of a happy time.
Tanaka was one of the more influential Gutai art movement artists, believed by many to deserve the leadership position within the rebellious post-war Japanese artist group, a but hindered from it due to her being a woman.
Tanaka’s work is symbolic to false light, untruth, prettiness by misrepresentation, a wonderful objectification of many beliefs changing and evolving in the years the work was created.
When the artist wore the artwork, around 200 light bulbs flickered every two and half minutes, like a pulsating body, inviting the viewer to view it a ‘living’ being without consideration of the being inside. Gutai translates as ‘concreteness’ born from a society that advocated for the loss of individualism.

love-after-love7742550341063638439.jpgImage from https://www.christystich.com/blog/2016/2/4/my-most-treasured-poem
Derek Walcott passed away less than two years ago, a Caribbean child of a slave, lived most of his life in Trinidad and St Lucia, and was awarded with the Nobel Prize in 1990’s.
Walcott’s poem is a reminder of being one with ourselves, salvaging ourselves with acts of faith ‘Give wine. Give Bread’ playacting Jesus proclamation of memory in the act of sharing love towards a progression towards oneself to a place where our reflection in the mirror doesn’t feel ugly or drained anymore, but celebratory.
Walcott’s exploration of European and African cultural adaptations within the Caribbean, and the multiculturality of the West Indies is reflected throughout his work. Walcott’s poem has a nostalgia about the mistake of trying to fit in other people’s shoes, and when ‘The time will come’ as in the time we will be ready or will be forced upon us to reflect in being at peace with oneself reminding us it is entirely achievable as ‘Sit. Feast on your life.’ is one of the few things in life left we have entire freedom to do on our own.

1-sammy-825x5106533298255495888239.jpgImages from #sammybaloji instagram page
Sammy Baloji is a Democratic Republic of Congo born photographer working internationally, with photographs represented in a wide range high profile african art fairs and collective exhibitions.
Born in a country known for the inherent political fragility, threat to human life, animal habitat and near extinction of species. His work is very much representing a colour code for how DRC is seen abroad and how it feels to Congolese people from within the country.
Baloji having participated in Venice Bienalle in an exhibition on Belgium’s colonial rule, he notes sharing and learning about a specific time period “To talk about our reality, and also to dream.”

Checklist:

  1. Mark Rothko, (b. 1903, Daugavpils, Latvia), Orange and Yellow, 1956, 231.1 x 180.3 cm, Albright-Knox Art Gallery, Buffalo, NY, US
  2. Frank Bowling, (b. 1934 , Bartica, Guyana), Who’s Afraid of Barney Newman, 1968, acrylic paint on canvas, 236.4 x 129.5 cm, Tate
  3. Atsuho Tanaka, (b. 1932, Osaka, Osaka Prefecture, Japan), Electric Dress, 1956, 165 X 80 X 80 cm, courtesy of Museum of Contemporary Art, Tokyo
  4. Derek Walcott (b. 1930, Castries, Saint Lucia), Love After Love, Collected Poems, 1948–1984
  5. Sammy Baloji (b.1978, Lumumbashi, Democratic Republic of Congo), Kumbuka!, 2006, Photo collage, various venues)

Bibliography:

  1. Foster, H., Marcus, G. and Myers, F. (1995). The Traffic in Culture. California: University of California Press, pp.302-309.
  2. Bishop, C. (2006). The Social Turn; Collaboration and its Discontents. Artforum International.
  3. Project, S., Bourn, J. and Bourn, J. (2019). Meaning of The Color Green |. [online] Bourn Creative. Available at: https://www.bourncreative.com/meaning-of-the-color-green/ [Accessed 9 Jan. 2019].
  4. New.diaspora-artists.net. (2019). Diaspora-artists: View details. [online] Available at: http://new.diaspora-artists.net/display_item.php?id=928&table=artefacts [Accessed 9 Jan. 2019].
  5. En.m.wikipedia.org. (2019). Frank Bowling. [online] Available at: https://en.m.wikipedia.org/wiki/Frank_Bowling [Accessed 9 Jan. 2019].
  6. Artnet.com. (2019). Atsuko Tanaka | artnet. [online] Available at: http://www.artnet.com/artists/atsuko-tanaka/ [Accessed 9 Jan. 2019].
  7. Dingli, S. (2015). We need to talk about silence: Re-examining silence in International Relations theory. European Journal of International Relations, 21(4), pp.721-742.
  8. Haus Der Kunst. (2019). Electric Dress. [online] Available at: https://postwar.hausderkunst.de/en/artworks-artists/artworks/electric-dress [Accessed 9 Jan. 2019].
  9. Liverpoolmuseums.org.uk. (2019). Ports of the Transatlantic slave trade – International Slavery Museum, Liverpool museums. [online] Available at: http://www.liverpoolmuseums.org.uk/ism/resources/slave_trade_ports.aspx [Accessed 9 Jan. 2019].
  10. visibleproject. (2019). Kumbuka!. [online] Available at: https://www.visibleproject.org/blog/project/kumbuka/ [Accessed 9 Jan. 2019].
  11. Barcio, P. (2018). Achieving Luminescence – Mark Rothko’s Orange and Yellow. [online] IdeelArt.com. Available at: https://www.ideelart.com/magazine/mark-rothko-orange-and-yellow [Accessed 9 Jan. 2019].

Chefchaouen, the blue pearl of north Morocco.

Chefchaouen is the perfect day or weekend trip on your travels in Morocco.

Famous for the blue painted buildings, more recently featured on French Montana’s ‘Famous’ videoclip

https://www.youtube.com/watch?v=LNHkxOU7zz8 that was filmed in the souks and circular main road around the town sitting on the mountain side. The 33 year old  moroccan-american artist is from the Casablanca and often pays tribute to his love for Morocco.

Back to Chefchaouen, the town is easily navigable by foot, but not wheelchair users, or for those with mobility difficulties. Built on the mountain side, souk and town streets climb up and down through the mountain curves, offering exquisite views over the town and the landscape beyond.

Chefchaouen is one of the easier villages to travel through Morocco. It is small enough to walk through in a day, and big enough that you can find another photogenic corner to help you on your dream-scape of what life may be like in the town, or in-fact to those that grow up in the alleys and buildings, protected by the elements and near everything else.

Here are some of the photos from our visit, we arrived on a cloudy and rainy day, yet it was also wonderful to see the town in non-postcard conditions, a different, and what felt more genuine side of life there. Rain gently encouraged us to go into the local cafe, not the tourist ones, and to get lost around the back streets to a school, trying to find a way through to the main square.

Chefchaouen’s location is equally impressive nesting on the mountain feet, reminds you of the perspectives on life which is so easy to forget when bouncing about between places in a city.

You could say Chefchaouen becomes the little blue light, twilight, dream-scape of adventure.

London Art Fair review

The London Art Fair is a unique opportunity to summarise what is happening in the high end gallery led art scene around the globe in that one year.

The collective in London hosted most of the main brand galleries representing mainly visual arts, with some sculpture and three dimensional work for sale, in the case where 3d was the only medium the artist worked in.

This year there were surprisingly a lot of trees, and in similar shapes. This made me wonder if there was a synchronicity between the artists but then again most of the works were made at different time frames. Yet the shape of the tree was prevailing over and over again.

Another repetitive feature was the cut out Victorian style book illustrations turned mini 3d landscapes. Is there a return to the kind of darkness that books enlighten through the imagination?

The artists that stood out are:

Elle Davies for the greenness of the forest shots. Did she go for the exotication of green spaces?

https://elliedavies.co.uk

Michael Ormerod for his American urban. landscapes washing out the impact of capitalism.

https://www.cranekalmanbrighton.com/photographer-category/20th-century-photographers/michael-ormerod/

Nicholas Feldmeyer for his stunning post apocalyptic digitally produced black and white landscapes.

http://www.feldmeyer.ch/index.php?page=290

Ian Berry’s jeans made 3d frame of Roosevelt Hotel.

http://www.ianberry.org

Camden, for the soul

On the first chilly day of autumn, I walked out of the house for work to find my brain clicking into Camden cravings.

I’m not talking about the food options, the bashing vibes, the shopping or drinking ports.

That would be too much detail.

I’m talking about the warming feeling I get when I’m here.

In Camden Town, at sunset, on a crisp day. It feels like belonging, it feels like home.

I could climb under the cobble stones and sleep there for the night.

And wake up to crawl back up from beneath them, to see Camden in sunrise.

Notting Hill Carnival, in love again

Now was this another carnival to remember?

Come carnival Monday the clouds were hanging low over the sky. That never and didn’t either in this occasion, stop over 1million revellers going on the road.

Windrush scandal overcasting, Brexit bringing more tensions, and the usual fair amount of racist press and media coverage did not stop us having a blast of a time. The stupidness of anyone reporting on crimes before carnival are equal to those not understanding that in 1million drink fuelled crowds, the crime figures are low and well below what could have been in other crowds. Stormzy rightly pointed out they should start reporting the drug den bust ups of pre-Glanstonbury season for the shake of fairness.

I am a firm believer if you put the kids from Glastonbury in carnival, not only they would have had a lot more fun, for much less, they would definitely stay away from the hard drugs that are being sold freely during the field based event.

Notting Hill Carnival was buzzing, end of. On a personal level, I could not have asked for more. The day begun downbeat, given that most of my Caribbean friends are either in the Caribbean itself or were not up for the road, for the first time in many years we have been going together. I would have gone on my own, happily and by lunch other friends decided to join.

The beauty of having the afro-caribbean community being free and expressing itself is invaluable. The rest of the year, people hide away at home or community aimed parties, the vibe that we, the rest of us are missing enormously. This always makes me feel like I’m missing out.

I was really lucky to come across one of the carnival bands I was involved in many years ago. I got to see some beautiful and familiar faces, still spending their summer months in preparation for this beautiful event. I got to carry a large costume for a couple of hours to give one of the masquerades a break. I got to climb up the bus and see the enormity of the crowds on the road on that beautiful evening sunset on this August Bank Holiday.

I will have to wait another year before this, unless of course, I choose to go to Trinidad carnival.

Love ya carnival crews, keep it alive and don’t let anyone blame you for anything otherwise.

Our Society is under attack

If it wasn’t for the neo liberalism that is driving vacant messages with questionable ethics, the alt-right and visibly present far right are continuously on attack of the basic principles that make us human, and therefore civilized.

There is a lot of anger, and even more so the internet and free flow of information has opened Pandora’s box. Corrupt regimes and individuals have been revealed, whilst governments have their resources diminished and police and health services struggling to deliver fairness. Law maybe the only dynamic challenge to all of this.

And now art is under attack, again.

I remember when following the financial crisis local government budgets were slashed letting thousands of staff go.

Youth services and cultural activities were the first to go and the arts council was told it has to raise the funds itself and from corporations. This the sector frowned upon and questioned the viability of independence in the circumstances.

Luckily the arts sector, used its creativity, and survived.

However we now have another attack under the wider hostile environment agenda.

The Guardian newspaper reported dozen authors who were planning to attend this year’s Edinburgh international book festival have had their visas refused. The ultimate right to creativity, refused. 

How does this hostile policy justify this? For they really believe we will silence our human nature to this extend? And what next, will they shut down the Internet so we can no longer share? 

What is the cost of this to society and why they feel the need to isolate? 

The ones kept inside, as always are the ones that have the key. 

I’m pretty sure this isn’t the way. 

Poverty, extremism and art. Where do we go from here?

Many days in the past two years I have woken up with the feeling we are living in parallel universes. Politicians continue to offend sensibility on a daily basis, polirising public opinion, whilst we stand aside watching on, the theatre of the insane. Our reality has become not too different from the Hunger Games, or many apocalypse-in-process themed movies.

Since Brexit, Trump being voted in, Putin and Erdogan, the troubles in Venezuela, Congo and Honduras to name a few, it is apparent that politicians aim to hold onto power, often to further their personal financial interests, on a wage funded by tax payer’s money.

Having gained power with dubious populist campaign sentiments, these politicians have also grabbed power with well versed catch-phrase marketing, tricking electorates with empty promises, whilst reducing their rights, and further pushing them into poverty.

However we have also seen the popularity and rise of progressive movements through the mist of this adversity. These have sown the seeds of change, pushing back on the dark principles of those autocrats. #metoo, #timesup, #FBPE and reports from non governmental organisations such us Doctors of the World, Human Rights Watch and Global Witness among other, have exposed witnesses in the political system, corruption, and promote accountability.

In London, knife crime amongst the young has escalated to uncontrollable levels, with police cuts, closure of youth services and social care, leading many with the inability to escape and furthermore to extremes and desperation.

Would any of the people affected be likely to join these movements or is their anger at a point where they are more likely to be pushed to extremes?

And how many times does this need to repeat to feel real in order of recognizing violence is not a resolution tactic, sometimes even when it is in defense.

Is activism and progressive thinking a middle-class will?

Artists and creatives around the world will surely emerge with an engaging and metaphorical message. That is the traffic light defining we live in intolerable political times.

Tracey Emin made her stand with the neon writing at St Pancras station. And that is all good willed and valuable. Many others follow.

However I can’t help but wonder how the most marginalised will gain a voice again. And who will care enough to listen, and for what reason.