(Hipódromo de las Américas, 10 February 2018)
The exhibition is a city. No individual exhibitor excels. Yet, taken together, the galleries, their visitors, and keepers comprise a metropolis that is greater than the sum of its parts. The galleries are not captive to any single curator’s madness. Instead, it is Starbucks coffee and the customer plastic that run through the galleries’ veins and force them to remain relevant.
Art is a job done well.
11 February 2018
11 January 2018
The Philadelphia Academy of Arts
(5 January 2018)
Loneliness wakens existence. To survive, one must learn to manufacture one’s own oxygen, in order to justify existence, each time from the first principles.
The Philadelphia downtown is nobly dead. It is a city in exile. The people in the streets do not seem to want to be there, at least not in that frigid weather, a reminder that nature wants you dead, or at least is indifferent about your existence.
A city in exile gives you the gift of time. One may find its indifference excruciating. Or one may reflect and create. Time does not ask to conform or compete. It encourages discovery and experimentation.
Loneliness wakens existence. To survive, one must learn to manufacture one’s own oxygen, in order to justify existence, each time from the first principles.
The Philadelphia downtown is nobly dead. It is a city in exile. The people in the streets do not seem to want to be there, at least not in that frigid weather, a reminder that nature wants you dead, or at least is indifferent about your existence.
A city in exile gives you the gift of time. One may find its indifference excruciating. Or one may reflect and create. Time does not ask to conform or compete. It encourages discovery and experimentation.
22 November 2017
"Twin Peaks: The Return" (2017)
“Twin Peaks: The Return” (TP) resembles poetry. If music is good, ninety percent of listeners like it. If poetry is good, ten percent of readers like it.
TP is a painting that one befriends and revisits. The characters are alive because the action is not cut into cartoonish snippets, which would make anyone appear either an action-hero and a wit or an insufferable bore.
The characters look more real because aged. They do not look like obvious choices for a TV show. They are known to have lived and, so, are alive.
The reason some object to the atomic bomb is because they cannot deny the number of deaths a nuclear conflict would inflict. By contrast, when non-nuclear warfare is entertained, it is easier to engage in wishful thinking and believe that the conflict will somehow resolve quickly and with few victims (at least for the favoured side). One may also believe that the more skilled will live, and the lesser skilled will die—that is, that the outcome will be fair. The bomb, by contrast, kills indiscriminately.
One may enjoy mountains without understanding how they have been formed. One may be lulled by the sound of the ocean even if one does not understand wave formation. One can enjoy without understanding. (It very well may be that our perception is just coarse enough not to generate more intricate observations than we can explain, at least collectively, as humanity. But then again, it may not be.)
There is no operationally useful definition of god, but an epistemically useful one can be gleaned from a metaphor: red blood cells as individuals, the organism they serve as god. The organism looks nothing like a red blood cell and is beyond each cell’s comprehension. The best each cell can do is to serve the organism by fulfilling the function that the cell has the urge to fulfil. TP displays an organism. It may be just beyond the capacity of the viewer to comprehend this organism and its intentions.
TP is suffused with love for life, for people, for differences. TP takes as axiomatic the acceptance of differences, as well as the tolerance towards the diversity of individual passions. Everyone has been manufactured for a purpose.
TP’s goal is to scare one out of “reality,” to make one think, for oneself. The movie is a canvas on which the viewer can project his own anxieties, visions, hopes, and aesthetics.
TP is a reunion of friends and family. These friends and family are not TP’s characters but one’s former selves.
As one moves from place to place, and as one chooses to be a slightly different self, one inhabits different realities. Later, one can travel and revisit a past reality. But one may not recognise it. Or the reality may refuse to recognise one. All one can do is to inhabit well the roles that one has been granted or has chosen and focus on the best strategy from now on.
Not to feel diminished by others’ accomplishments, everyone ultimately creates his own reality, populates it by his own values, and inhabits it. David Lynch creates a world that the viewer is free to co-opt. In Lynch’s world, you do not have to be rich. You do not have to be smart. You do not have to be particularly beautiful or young. You do not have to be sane. But you have to be, to connect, and to dream up a possibility result, a hero, or an idea that would unite and encourage some to become heroes.
Lynch grew up in provinces. He knows how to listen to silence and how to notice. He knows what electricity sounds like, what the night sounds like, and what the evening fog sounds like. Living in the middle of nowhere makes one sense-deprived (as does meditation) and compels one to create in order not to be stifled by silence.
TP explodes in episode 18 (E18), which comprises half of the series. The states are high: E18 manufactures reality: our reality. It is there for a purpose, which, by the end of the episode, will have been accomplished.
Interpreting TP (should one feel compelled to do so) is a metaphor for artistic and scientific endeavours. The ambiguity, the incompleteness, and the improbability of the narrative is what makes interpreting it so compelling and addictive.
Yet TP is not magical realism. Magical realism flouts rules. TP creates a new world, with a vocabulary and a consistent set of rules.
For Lynch, film is as a primarily visual and audio medium. Music is the portal between realities.
To fight evil, one must accept all parts of oneself, good and less good.
14 October 2017
"Blade Runner 2049" (2017)
There is a kind of wit that is universally recognised as wit but is neither funny nor particularly clever. Instead, it is exact and understated. Denis Villeneuve's Blade Runner is like that: remembered as substantive but stitched together from tasteful platitudes.
The world of the Blade Runner is alive and full of intensity, to which replicants and humans contribute alike. This world is saturated with its inhabitants' dreams and aspirations. It may not have turned out to be the best of all possible worlds, but at least the affairs today are not the way they used to be yesterday; at least there has been change, an attempt to design a better world---a distinctly human and humanising attempt.
The movie is not about a story. (Each character is more interesting than the story he tells.) Instead, the movie is a platform where to develop one's own thought experiments and onto which to pin one's own experiences, of solitude and intensity, accumulated by traversing and inhabiting the many laboratories of human experimentation and design.
The movie is a postcard from the civilisation, which this season is brought to you by Canada, a country with no identity and, hence, welcoming of all identities.
Memories and the instincts to act on these memories comprise consciousness. One is human if one is valued by and values other humans and contributes to their narrative. Just as a patient cured of a decease remains human, so are replicants---thoroughly overhauled instantiations of man---human, too.
The world of the Blade Runner is alive and full of intensity, to which replicants and humans contribute alike. This world is saturated with its inhabitants' dreams and aspirations. It may not have turned out to be the best of all possible worlds, but at least the affairs today are not the way they used to be yesterday; at least there has been change, an attempt to design a better world---a distinctly human and humanising attempt.
The movie is not about a story. (Each character is more interesting than the story he tells.) Instead, the movie is a platform where to develop one's own thought experiments and onto which to pin one's own experiences, of solitude and intensity, accumulated by traversing and inhabiting the many laboratories of human experimentation and design.
The movie is a postcard from the civilisation, which this season is brought to you by Canada, a country with no identity and, hence, welcoming of all identities.
Memories and the instincts to act on these memories comprise consciousness. One is human if one is valued by and values other humans and contributes to their narrative. Just as a patient cured of a decease remains human, so are replicants---thoroughly overhauled instantiations of man---human, too.
9 July 2017
Terror
(Lyric Hammersmith, 3 July 2017)
The play does not offer much in the way of acting. Instead of developing relationships with each other, the characters simply speak at the audience, rather well. What is spoken is Philosophy 101, illustrated with the same textbook examples. Should one be utilitarian? There is not much else out there. Should one ever defy the authority of man or law if one believes this authority to be malicious or mistaken? WWII has answered this question. The facts of the case at hand are curious.
The chilling finale is that forty percent of those scattered about the house think differently.
The play does not offer much in the way of acting. Instead of developing relationships with each other, the characters simply speak at the audience, rather well. What is spoken is Philosophy 101, illustrated with the same textbook examples. Should one be utilitarian? There is not much else out there. Should one ever defy the authority of man or law if one believes this authority to be malicious or mistaken? WWII has answered this question. The facts of the case at hand are curious.
The chilling finale is that forty percent of those scattered about the house think differently.
The Great Gatsby
(12 Pilgrimage Street, 2 July 2017)
Fitzgerald’s novel is moralising and trite. The play is contrived and protracted. The actors try to conjure up intensity by shouting and running around. The soundtrack bears no relationship to the period or the mood of the performance. (The dance moves presumably do.) The audience are neglected and neglectful guests, not privileged voyeurs.
Fitzgerald’s novel is moralising and trite. The play is contrived and protracted. The actors try to conjure up intensity by shouting and running around. The soundtrack bears no relationship to the period or the mood of the performance. (The dance moves presumably do.) The audience are neglected and neglectful guests, not privileged voyeurs.
The Comedy About a Bank Robbery
(The Criterion Theatre, 1 July 2017)
Shakespeare would set plays in exotic locations, which might as well not have existed. So exiled, events are less prone to being judged by the audience's parochial norms. Characters avoid being typecast by their location alone.
Today, dramatic settings tend to gravitate towards the US, which has an air of plausibility about it, in part, due to the news coverage, but mostly because of its cultural reach. For a theatregoer in London, the late-1950s Minneapolis, where the theatregoer has never visited, is likely to be more real than Birmingham, where the theatregoer might have even lived. The US history is recent enough for audiences to identify with and to see the analogies with and the repercussions for the present. Individualistic, the US is an auspicious setting for stories about individuals.
Besides, just like Facebook and science, art does not live by national boundaries. The London art scene is also the New York art scene. The leadership of the English-speaking world is unlikely to ever be challenged, not because this world is infallible, but because the entire world will have become English-speaking before any challenge can be mounted.
Much of contemporary entertainment is free or cheap, and easily goes viral. As a result, it is often designed to be sterile: politically correct and targeting the least common denominator. By charging its customers a hefty ticket fee in money and time, live theatre makes it harder for the audience to be inadvertently exposed to offence and makes it costly to admit that offence has been committed. (It is hard to admit one has paid to be offended. Instead, one has probably payed to be intellectually challenged.)
A Comedy About a Bank Robbery is a slapstick comedy designed in London, set in Canada and mostly in Minneapolis, and energised by the 1957 hit "Dynamite." The staging of action scenes is impressionist and free, instead of appearing constrained and impoverished by the limitations of live theatre.
Shakespeare would set plays in exotic locations, which might as well not have existed. So exiled, events are less prone to being judged by the audience's parochial norms. Characters avoid being typecast by their location alone.
Today, dramatic settings tend to gravitate towards the US, which has an air of plausibility about it, in part, due to the news coverage, but mostly because of its cultural reach. For a theatregoer in London, the late-1950s Minneapolis, where the theatregoer has never visited, is likely to be more real than Birmingham, where the theatregoer might have even lived. The US history is recent enough for audiences to identify with and to see the analogies with and the repercussions for the present. Individualistic, the US is an auspicious setting for stories about individuals.
Besides, just like Facebook and science, art does not live by national boundaries. The London art scene is also the New York art scene. The leadership of the English-speaking world is unlikely to ever be challenged, not because this world is infallible, but because the entire world will have become English-speaking before any challenge can be mounted.
Much of contemporary entertainment is free or cheap, and easily goes viral. As a result, it is often designed to be sterile: politically correct and targeting the least common denominator. By charging its customers a hefty ticket fee in money and time, live theatre makes it harder for the audience to be inadvertently exposed to offence and makes it costly to admit that offence has been committed. (It is hard to admit one has paid to be offended. Instead, one has probably payed to be intellectually challenged.)
A Comedy About a Bank Robbery is a slapstick comedy designed in London, set in Canada and mostly in Minneapolis, and energised by the 1957 hit "Dynamite." The staging of action scenes is impressionist and free, instead of appearing constrained and impoverished by the limitations of live theatre.
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