Brief, synoptic rundown of things i saw, did, enjoyed, hated.
Art:
Jane & Louise Wilson "Unfolding the Aryan Papers" (Talbot Rice Gallery):
Stunning, visually overwhelming meditation on Stanley Kubrick's abortive "Aryan Papers" film, abandoned after months of pre-production and characteristically meticulous research by Kubrick. Repetitions and revisitations of history, archive and memory. Cinematic without being vacuuous. Images, both from Kubrick's archive and orchestrated by the artists that live long in the memory.
Eva Hesse "Studiowork" (Fruitmarket):
Lots been written about this, endless coverage and 5 star reviews. Fragile and enigmatic sculptures. Really interesting in terms of how these small experiments constitute "work"; masterclass in how process and practice rather than finished artifacts are the elements that artists themselves find most interesting/worthwhile. Or something.
Theatre:
The sound of my voice. Citizens Theatre adaptation of Ron Butlin's superb meditation on alcoholism. Intense stuff which possibly hewed a little too close to the text to let the production really come alive theatrically. The cramped setting heightened the tension as the narrator descends into a white knuckled, mud soaked alcoholic white out. Billy Mack's performance elevated things. I definitely preferred the book which permits sufficient shades of grey to allow you to begin to like the profoundly disfunctional protagonist.
Up. First play by a good friend of mine. About a man committed to an NHS psychiatric institution, replaying the circumstances of his commital to an unseen ward-mate. Funny as fuck and dark as pitch, a really successful meditation on mental illness, depression, sexuality and alienation. Really well written, thrilled (if a little jealous) of James for his success! Laurie Brown's performance was nothing short of astonishing, he got nominated for a Stage Award for it and well deserved it.
Books:
Tons of stuff as I was working as part of the childrens festival. For fun I saw...
The Moth: Baffling New York based storytelling night relocated to the Spiegeltent for one night only. I hated it while it was happening but was thinking about it for days afterwards. 4 storytellers got onstage and had to tell a 10 minute true story. Some were good. Some were awful. There was a definite disconnect between the american performers expectations and a characteristically sceptical Edinbugh audience with many pregnant pauses for applause lengthening into chasms of silence. Also, not entirely sure the atmosphere was helped by the setting, a large, billowing tent with every emergency vehicle in the city (and a military plane fly by for the tattoo) disrupting the vibe on a number of occasions, more suited to a darker, more atmospheric situation. Definite highlight was George Dawes Green's breathless Georgian saga.
Alasdair Gray: True to form Alasdair Gray departed from his brief to read from "Fleck" his adaptation of Faust to read from "Voices in the Dark". Magic, anarchic and occasionally infuriatingly digressive it was vintage Gravian fare. I got my copy of "The Book of Prefaces", Gray's amazing anthological history of introductions to a thousand years of literature inscribed to me by the man himself which was a massive, massive thrill!
Colm Toibin & Patrick McCabe: Two of my favourite writers on the same stage. Probably the most enjoyable hour I spent at the festival this year. Real knockabout fun, both authors have clearly done this before and managed to provided insight and entertainment despite disappointing chairing and an unavoidable "What does it mean to be Irish" line of questioning.
Audience seemed to be more interested in Toibin than McCabe but both writers engaged in a meaningful, if meandering discussion with one other. You can get the audio from the EIBF website. It's well worth a listen.
That's it for the time being...
Saturday, 26 September 2009
Backlog...
It's been an insanely, insanely, insanely busy few months round my way.
This is a desultory attempt to catch up in whatever way I can.
Will try and split it into three posts.
Festival (Edinburgh)
Festival (Croatia)
Edinburgh Club activity (recent)
Onward!
Thursday, 27 August 2009
Friday, 14 August 2009
Tiny Hairy Disco Deathmatch.
Get yourselves along to Kris Wasabi and David Barbarossa's disco grudge-fuck* at Sneaky Pete's tomorrow (Saturday 15th) night.
6 hours of non-stop disco shennanigans.
I'll be there.
Dressed as Grace Jones.
On the cover of Island Life.
In my mind.
Mega, mega busy round this way. Even though I'm on holidays. And have spent most of the morning on teh internets.
And another thing, i'm increasingly thinking that the festival is Edinburgh's Christmas. It's impossible to walk down the street without meeting someone you know and inevitably ends with the question "Fancy a scoop?"
Sure, it's fun to complain but there's something in the air this year.
* I know, eww.
Thursday, 6 August 2009
Robomanticism
Edinburgh Art/Music collective FOUND unveiled their emo-robot band creation, Cybraphon at the open of NewMedia Scotland's Edinburgh Art Festival exhibition at the InSpace gallery yesterday.
Cybraphon embodies the type of new-old-new aesthetic I was talking about previously. "Cybraphon consists of a number of instruments, antique machinery, and found objects from junk shops operated by over 60 robotic components, all housed in a modified wardrobe" (although the majority of Cybraphon's functions run off custom software). For the how, go here. The why, go here. It reminds me a little of Janet Cardiff & George Bures Miller's "Opera for a Small Room" that was exhibited last year.
Cybraphon is resolutely modern too, being obsessed with social networking and the web, to such a degree that its prowess and popularity online impacts on its emotional state, which in turn has an effect on the music it composes. There are rumours that Richie Hawtin consulted with Cybraphon on Myspace and stole some of its ideas in surveying fans about what they'd like the return of Plastikman to look like.
Cybraphon, like many others, is naturally livid with Hawtin. Not because he stole his idea but because Cybraphon only sees the online component of its existence as informing rather than directing its practice as an artist.
There's a face off between FOUND and Cybraphon next week, unfortunately the website is saying it's sold out. Hopefully Cybraphon will notice I've written about it and grant me some sort of special robo-guestie.
Wednesday, 5 August 2009
Retro Stylings
Two seemingly disparate articles looking at similar tendencies in disparate musics floating around just now.
Philip Sherburne's column on Pitchfork looking at the return to analogue prevalent in the post-minimal climate. He's got some interesting points, most notably about Clone's increasing quest to refine and redefine the electronic canon, looking at the (small c) "continuum" of musics that have been growing out of the roots of disco/house/boogie/techno/acid/etc. Talk of innovation (although Sherburne uses the neat phrase "sonic novelty" in addressing the excesses of the minimal boom) has moved to talk of authenticity, a phrase that in all cultural forms is loaded with as much baggage as i've seen being lugged through the streets of Edinburgh this week.
Michael Tumelty's piece in the Herald looks at the Edinburgh International Festival's current programme and the furore over the sheer volume of Early/Historical/Authentic music in this years lineup. His point being that after a number of years where Historically Informed music was percieved as a niche, specialist pursuit it is now ready to go (for want of a better word) mainstream.
There's a lot of pleasure to be gained in seeing artists who've grown in relative obscurity getting plaudits for their mastery of their chosen form. I'm eagerly anticipating watching Legowelt break out his boxes at Substance this weekend just as Tumelty seems excited at the prospect of seeing Bach Collegium Japan.
So this is really just a wee screed, saluting all the interesting music programming this year in all its forms in Edinburgh's festival this year. It's a welcome relief from the depressing uniformity of a lot of the fare on offer at the major Fringe venues- acres of posters on boards plastered with easily recognisable visual references on posters.
Philip Sherburne's column on Pitchfork looking at the return to analogue prevalent in the post-minimal climate. He's got some interesting points, most notably about Clone's increasing quest to refine and redefine the electronic canon, looking at the (small c) "continuum" of musics that have been growing out of the roots of disco/house/boogie/techno/acid/etc. Talk of innovation (although Sherburne uses the neat phrase "sonic novelty" in addressing the excesses of the minimal boom) has moved to talk of authenticity, a phrase that in all cultural forms is loaded with as much baggage as i've seen being lugged through the streets of Edinburgh this week.
Michael Tumelty's piece in the Herald looks at the Edinburgh International Festival's current programme and the furore over the sheer volume of Early/Historical/Authentic music in this years lineup. His point being that after a number of years where Historically Informed music was percieved as a niche, specialist pursuit it is now ready to go (for want of a better word) mainstream.
There's a lot of pleasure to be gained in seeing artists who've grown in relative obscurity getting plaudits for their mastery of their chosen form. I'm eagerly anticipating watching Legowelt break out his boxes at Substance this weekend just as Tumelty seems excited at the prospect of seeing Bach Collegium Japan.
So this is really just a wee screed, saluting all the interesting music programming this year in all its forms in Edinburgh's festival this year. It's a welcome relief from the depressing uniformity of a lot of the fare on offer at the major Fringe venues- acres of posters on boards plastered with easily recognisable visual references on posters.
Thursday, 16 July 2009
Self Service (Polemic 2)
The current furore surrounding writers, child protection and school visits sheds more light on the self-serving imaginary landscape around which of the appointed cultural titans roam. It is a classic demonstration of writerly vanity and illustrates the vacuity of much commentary about culture in our society. It's a manufactured, orchestrated bunfight in which the shrill voices of our doomsaying heroes drown out any semblance of reasoned or illuminating discourse.
The bunfight centres around new requirements in England, Wales and Northern Ireland requiring everyone who wants to work or volunteer with children or "vulnerable people" to be vetted by the Independent Safeguarding Authority. The requirement will make it compulsory for anyone who has "regular" or intense contact with children or vulnerable adults have the checks.
This provoked the following measured responses from a predictable assembly of people what write kids books and have publicists:
"The whole idea of vetting any adult who visits many schools, but each only for a day, and then always in the presence of other adults, is deeply offensive," (Anne Fine)
"It's actually rather dispiriting and sinister. Why should I pay £64 to a government agency to give me a little certificate to say I'm not a paedophile.
Children are abused in the home, not in classes of 30 or groups of 200 in the assembly hall with teachers looking on." (Philip Pullman)
"In essence, I'm being asked to pay £64 to prove that I am not a paedophile.
After 30 years writing books, visiting schools, hospitals, prisons, spreading an enthusiasm for culture and literacy, I find this incredibly insulting."
(The database)...poisons the special relationship that exists between children and authors they admire". (Anthony Horowitz)
What is revealing about this is the manner in which the systemic insult is personalised.
No matter that this requirement covers a massive range of people who work with young people, this is transmogrified into an attack on the integrity of some of our most beloved childrens authors. Particularly hard to stomach is Pullman's sanctimonious, simple-minded assertion about abuse; coupled with both Pullman and Horowitz having the moxy to suggest that they'll be paying the £64 (unlesss blockbusting authors have ceased engaging the services of accountants these days?) we're left with a masterclass in vanity and self-regard disguised as social conscience.
For the thousands of us up here in Scotland who for a few years now have had to go through the Disclosure Scotland procedure when starting a job working with children or vulnerable adults it's less of an insult than an inconvenience. I don't believe for a second that my potential employers think that I'm a paedophile, it's just that they have to check. And that's fine. Although my flexibility in this regard may have more to do with the fact that I have to work to earn a living.
The likes of Horowitz, Pullman and Morpurgo, for all their undoubted talents, can afford to hold forth at length about "sinister" "insults" from a faceless bureaucracy. Just don't expect me to applaud their fearless decision to stop bothering to do something they don't need to do very often anyway.
It's heartening to see that the new childrens laureate, Anthony Browne offering some some much needed perspective:
"I feel that as writers we shouldn't necessarily be granted an exemption. If all people who work with children have to be vetted by the police then we shouldn't be an exception. It seems a bit odd that we have to pay for it, though."
Don't worry Anto, I'm sure you'll be able to write it off against tax.
Even better was Robert Muchamore's suitably combative Twitter message:
"Irritated at another round of whinging by the usual grey haired mafia of 'renowned' kids authors"
Anyone who works with vulnerable and damaged young people will tell you that even ordinary experiences require extraordinary effort. In their unwillingness to demonstrate even the slightest flexibility in this matter our heroes have demonstrated the true extent of their commitment.
The bunfight centres around new requirements in England, Wales and Northern Ireland requiring everyone who wants to work or volunteer with children or "vulnerable people" to be vetted by the Independent Safeguarding Authority. The requirement will make it compulsory for anyone who has "regular" or intense contact with children or vulnerable adults have the checks.
This provoked the following measured responses from a predictable assembly of people what write kids books and have publicists:
"The whole idea of vetting any adult who visits many schools, but each only for a day, and then always in the presence of other adults, is deeply offensive," (Anne Fine)
"It's actually rather dispiriting and sinister. Why should I pay £64 to a government agency to give me a little certificate to say I'm not a paedophile.
Children are abused in the home, not in classes of 30 or groups of 200 in the assembly hall with teachers looking on." (Philip Pullman)
"In essence, I'm being asked to pay £64 to prove that I am not a paedophile.
After 30 years writing books, visiting schools, hospitals, prisons, spreading an enthusiasm for culture and literacy, I find this incredibly insulting."
(The database)...poisons the special relationship that exists between children and authors they admire". (Anthony Horowitz)
What is revealing about this is the manner in which the systemic insult is personalised.
No matter that this requirement covers a massive range of people who work with young people, this is transmogrified into an attack on the integrity of some of our most beloved childrens authors. Particularly hard to stomach is Pullman's sanctimonious, simple-minded assertion about abuse; coupled with both Pullman and Horowitz having the moxy to suggest that they'll be paying the £64 (unlesss blockbusting authors have ceased engaging the services of accountants these days?) we're left with a masterclass in vanity and self-regard disguised as social conscience.
For the thousands of us up here in Scotland who for a few years now have had to go through the Disclosure Scotland procedure when starting a job working with children or vulnerable adults it's less of an insult than an inconvenience. I don't believe for a second that my potential employers think that I'm a paedophile, it's just that they have to check. And that's fine. Although my flexibility in this regard may have more to do with the fact that I have to work to earn a living.
The likes of Horowitz, Pullman and Morpurgo, for all their undoubted talents, can afford to hold forth at length about "sinister" "insults" from a faceless bureaucracy. Just don't expect me to applaud their fearless decision to stop bothering to do something they don't need to do very often anyway.
It's heartening to see that the new childrens laureate, Anthony Browne offering some some much needed perspective:
"I feel that as writers we shouldn't necessarily be granted an exemption. If all people who work with children have to be vetted by the police then we shouldn't be an exception. It seems a bit odd that we have to pay for it, though."
Don't worry Anto, I'm sure you'll be able to write it off against tax.
Even better was Robert Muchamore's suitably combative Twitter message:
"Irritated at another round of whinging by the usual grey haired mafia of 'renowned' kids authors"
Anyone who works with vulnerable and damaged young people will tell you that even ordinary experiences require extraordinary effort. In their unwillingness to demonstrate even the slightest flexibility in this matter our heroes have demonstrated the true extent of their commitment.
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