The Engine

Alighiero Boetti: Game Plan at the Tate Modern, London, March 2012  Alighiero Boetti (1940-1994)was an Italian conceptual artist connected to various movements including the Arte Povera movement of radical young Italian artists known for using simple, inexpensive materials such as biro pens, postage stamps and magazine covers. Boetti is an artist like Albrecht Durer (1471-1528) fascinated by alchemical symbols, numbers, esoteric possibly meaningless symbols, keys, codes, ciphers. His work links specific artists to certain symbols. One work links certain Turin artists to specific parts of the city set out in cartographical form with certain colours representing the domain of some artist friend of Boetti, usually another member of the Arte Povera group.  As an artist Boetti is Mettera al Mondo il Mondo (giving birth to the world) through works like sei sensi (The Six Senses, 1974), an enormous abstract made entirely with biro pens utilised at different intensities, an a...

YAYOI KUSAMA RETROSPECTIVE AT THE TATE MODERN Yayoi Kusama (1929-) was born in Nagano Prefecture in a hill town in the Japanese Alps about 130 miles west of Tokyo just before the second world war. She grew up in a traditional Japanese family with a traditional set of Japanese values that maintained that a woman should complete her education, then marry and have children. However, Yayoi possessed creativity and wanted to fulfill herself through her art rather than taking on a traditional role. This meant that she soon came into direct opposition to her family and especially her mother. Her parent's business was marketing seeds and they were very opposed to Yayoi's artistic vocation. However she managed to complete one year of art school training in Kyoto in 1948 but the constraints of family, gender and being Japanese led her to rebel against these constraints and to become familiar with contemporary American culture but also the legacy of French surrealism, experimental...

ANDREA HEWITT AT THE WIGMORE HALL The internationally famous Canadian pianist Andrea Hewitt performed works by Claude Debussy (1862-1918), Gabriel Faure (1845-1924), Paul Dukas (1865-1935) and Albert Roussel (1869-1937) at the Wigmore Hall on Friday, 25th November, 2011. The Debussy works, including Suite Bergamasque (c.1890) and L'Isle Joyeuse (1904) all typify the impressionist style of music where there is no dominant key and harmony is the most important element. Hewitt's performance was perfect in terms of tempo and was never circumscribed by critical or audience expectations. The works were played quite slowly so that the music should not become muddied and confused. Her interpretations of these works was warm, humane and forgiving, never machine-like or cold. She allowed few improvisations, however, which might have been appropriate in Golliwog's Cake Walk which needed a bit of jazzing up. Hewitt's attitude to the audience and the music was never calcul...

IMAGINARY SYMBOLS OF END TIMES: THE SCULPTURE OF BARRY FLANAGAN 1965-82 Barry Flanagan at the Tate Britain This is a retrospective of the work of the sculpture Barry Flanagan (1941-2009). Flanagan attended St Martin's School of Art from 1964-66 but his approach to sculpture isn't essentially very academic. He uses non-conventional materials such as sand, canvas, rope, sculpted cushions, installation-like assemblages resembling landscapes or even some organic entity or animal, a blue volcano topped with an aluminium object with blunted edge which may also be a face in profile (al casb 4 '67 & aaing j gni aa 1965)). A giant gourd may also resemble sagging testacles or heaped, coloured sand accompanied by two small sacks which may also be testacles stuck on an evaporating sand penis. There's also the influence of Alfred Jarry (1873-1907) and his Pataphysics, 'the science of imaginary solutions' and the work that made Jarry famous, his 'Ubu Roi'....

JOHN MARTIN: APOCALYPSE at the TATE BRITAIN  John Martin (1789-1854) was a British artist born in Newcastle into a working class family. Martin's work contrasts with that of contemporaries William Blake (1757-1827) and JMW Turner (1775-1851). Technically he was compared to Turner and his subject matter overlaps strongly with that of Blake. His reconstructions of biblical scenes offer a great urge towards verisimilitude even if there's always a hotch potch of details as in his painting The Fall of Babylon (1819). Ancient Babylon with 18th century-style ships, Babylonian soldiers in Roman uniform climbing into Victorian carriages under what seem to be Japanese bonsai trees.  Martin wanted to be taken seriously and often provided keys and appendixes to his paintings demonstrating their links to actual history. He sought to engage with Victorian populism, which was very unfashionable among the intellectual elites but also dearly wished to be taken seriously by the art es...

GERHARD RICHTER AT THE TATE MODERN  Gerhard Richter (b 1932, Dresden, Germany) typifies German suburbia, a Dresden artist who settled in Duesseldorf the middle class twin of neighbouring working class Cologne. As an Ossi who became a Wessi Richter settles on the disturbing facts of German history but also provides a commentary on perception, ways of seeing the past through unsettling images of his father, who he hardly knew, clownishly gaping at the artist through soft focus grey tones. His Uncle Rudi in Wehrmacht gear smiles endearingly at the artist/camera, for Richter early on decided upon photorealism as an art aesthetic through the then dominant medium of black & white photography. He gravitates through this to emerge into full colour abstraction as a further plausible re-invention before returning to grey photorealism in his depiction of the German autumn, the "suicides" of Andreas Baader, Ulrike Meinhof and Gudrun Esslin in 1977.  In a retrospective view fro...

POSTMODERNISM: STYLE AND SUBVERSION at the Victoria & Albert Museum The curators of Postmodernism have traced the origins of the so-called Postmodern movement back to the '60s, to the work of Ettore Sottsas (1917-2007) and Alessandro Mendini (1931- ). The focus on radical design and dystopian possiblities is reminiscent of some of the typical movements of the former part of the 20th century and Postmodernism does seem to be an outcrop (or a barren outcrop) of both Surrealism and Futurism (which also originated in Italy). The exhibition binds a host of diverse artists, architects, alternate movements to it's thesis that Postmodernism was a driving force in culture from the 60s onwards, eventually feeding into the mass culture of the 1980s before ultimately dissipating. Postmodernism is presented as binding together different cultural possibilities such as the typifying admixture of high art, classicism and pop culture owing aesthetic loyalty only to the next hollow cli...