Just watched...

...Andrei Tarkovsky's 1979 epic "Stalker."


“Stalker,” by Soviet director Andrei Tarkovsky, and based on the novella “Roadside Picnic” by the Russian Strugatsky Brothers is a legendary cult film made in 1979. The story it came from is explicitly a science fiction story concerning itself with an extraterrestrial alien visitation and the objects the Visitors left behind. These objects carry special powers and the entire area of the Visitation, a once-industrial area now named The Zone and full of ruins, suffers from odd and often dangerous phenomena such as gravitational wells that can flatten anything within, sentient lightning and poisonous alien plants.

Billed as a science fiction film, “Stalker,” like Tarkovsky’s other legendary film “Solaris” (also a science fiction story), feels empty and cavernous. Several factors contribute to this feeling: like “Solairs,” “Stalker” features scenes with long, lingering shots on elements of nature such as a stream or tree leaves, very sparse dialogue, and an emptiness, and even a stillness, that seems to surround every character. Having said that, the film is in reality far from “empty.” There are no "sci-fi special effects" but there is a frightening, compelling story line to follow, visuals with arresting composition to see, and a fascinating music score and sound design to hear. And of course there are some large, all-too-human ideas going on. The Stalker of the title is a man who leads expeditions to The Zone, much like a Sherpa. Stalkers are knowledgeable about and expert in the dangers of The Zone. But why would one want to travel to the The Zone, you ask? In the heart of the area is a room that, when entered, grants wishes. But not the wish you say out loud or fool yourself into thinking you want… the wish that is secretly in the seed of your soul, your unspoken wish.

Tarkovsky’s version of this story, despite the fact that the authors of the original novella worked on the screenplay, is a much more enigmatic and oblique tale… especially the magical, crushing, puzzling ending. It is good to know about the source material for the film before sitting down to watch “Stalker.”

Recommend? At nearly three hours, I will recommend this only to true cinephiles (and I know you're out there). If the prospect of watching a long, slow moving film in Russian with English subtitles does not scare you (and good for you!), dive right in!

Just finished reading...

...Frances Mayes' second living-in-Italy book, BELLA TUSCANY.


After I went to Tuscany last year, I read Frances Mayes’ charming UNDER THE TUSCAN SUN, (review here) which thankfully had nothing whatsoever to do with the limp (and drastically altered) film adaptation. The story, about Frances and her then partner/ now husband Ed buying an old dilapidated house in the village of Cortona and the trials and tribulations of bringing it back to life (and making it suitable to live in), was quite enjoyable but skimmed over a lot of the substance that presumably makes Tuscany the magical, alluring region that it is.

So in anticipation of my return trip to Tuscany next month, I thought I would catch up with Ms. Mayes and see what’s up. Her second book in the living-in-Italy series is BELLA TUSCANY: THE SWEET LIFE IN ITALY, which goes a bit deeper than that "skimming" technique of the last book. It is a nice combination of anecdotes about life in the house they restored (and are still working on), portraits of the people and characters they meet, recipes from the region, travelogue information about areas of Italy, incidental art and European history, and poetic musings about life in Italy/ the difference between life in the United States and life in Italy/ life in general. It is sort of a personal scrap book, much more interesting than a diary.

As I was reading, I was thinking that she was employing the same skimming technique she used in her first book, but when we got to the death of one of the precious old characters who helped them bring back the land and work their garden, I realized we were going a little deeper. And I realized I had grown close to this man without knowing much about him--or perhaps I was projecting and filling in the blanks. Without trying to sound dramatic, Mayes does manage to convey the value and preciousness of things in life. But she does so in a condensed, abbreviated way which often feels superficial... like “skimming.”

I still have a bit of time… I am starting the next one in the series, her newest book, EVERY DAY IN TUSCANY before we fly to Tuscany next month. (Her in-between book, IN TUSCANY, I understand is not really part of the on-going story but rather a stand-alone book of photos and essays about life in Tuscany.)

Recommend? Yes, but read UNDER THE TUSCAN SUN first though to get the flow.

http://www.francesmayesbooks.com/

Today's Forecast: Clear and Sunny

>

I wish. We've had a cold, gray spring here in California...

It's Spring...

and I adore bunnies.

I do.
I really do.


And this last picture is from La Petraia, chef Susan McKenna Grant's glorious agriturismo in Tuscany. I'll be at La Petraia in a few short weeks... I hope Susan lets me hold some bunnies while I am there!

Speaking Of Bunnies: Bunny Art

Top to bottom: John Tenniel's illustration of The White Rabbit for the original publication of ALICE IN WONDERLAND; Mika Hirasa's gorgeous rabbit embroidery; unknown illustration; Marc Johns' pipe smoking rabbit; a simple, Zen-like rabbit by Roger Clayton

More Bunny Art

Michael Sowa’s whimsical, surreal work is often heartbreaking to me. His series of images of rabbits alone, struggling to live in a human-sized world never fails to touch me. His little bunnies look so lonely, so determined to be independent, and so out of their league. I worry for them. I want to help them. They shouldn’t be out on the street or riding the train alone, so small, such easy targets. It appears that they are steadfast in their efforts to be brave and self-sufficient, but it's simply not that kind of world for a bunny. They can't see the birds of prey circling overhead. I will take them in from the storm and keep them safe.

Burial Site of Gay Caveman Discovered

Skeleton was pointing eastwards and surrounded by domestic jugs - rituals only previously seen in female graves

Five thousand years after he died, the first known gay caveman has emerged into the daylight.

According to archaeologists, the way he was buried suggests that he was of a different sexual persuasion.

The skeleton of the late Stone Age man, unearthed during excavations in the Czech Republic, is said to date back to between 2900 and 2500 BC.

During that period, men were traditionally buried lying on their right side with the head pointing towards the west; women on their left side with the head facing east.

In this case, the man was on his left side with his head facing west. Another clue is that men tended to be interred with weapons, hammers and flint knives as well as several portions of food and drink to accompany them to the other side.

Women would be buried with necklaces made from teeth, pets, and copper earrings, as well as domestic jugs and an egg-shaped pot placed near the feet.

The ‘gay caveman’ was buried with household jugs, and no weapons.

Archaeologists do not think it was a mistake or coincidence given the importance attached to funerals during the period, known as the Corded Ware era because of the pottery it produced.

'From history and ethnology, we know that people from this period took funeral rites very seriously so it is highly unlikely that this positioning was a mistake,’ said lead researcher Kamila Remisova Vesinova.

‘Far more likely is that he was a man with a different sexual orientation, homosexual or transvestite. What we see here does not add up to traditional Corded Ware cultural norms.’

An oval, egg-shaped container usually associated with female burials was also found at the feet of the skeleton.

Another member of the archaeological team, Katerina Semradova, said that colleagues had uncovered an earlier case dating from the Mesolithic period where a female warrior was buried as a man.

She added that Siberian shamans, or witch doctors, were also buried in this way but with richer funeral accessories appropriate to their elevated position in society.

‘This later discovery was neither of those. We believe this is one of the earliest cases of what could be described as a transvestite or third-gender grave in the Czech Republic.’

From the UK newspaper The Daily Mail. Link to original article here.

Lorna Doone, Ladyfinger, Madeleine

Lorna Doone: a shortbread cookie developed in 1912, named after the heroine of an 1869 novel by R.D. Blackmore. Although the story takes place in southwest England, the Doone family were of Scottish heritage.



Ladyfingers: a light sponge cake in the shape of a long finger which originated in the 15th century at the court of the Duchy of Savoy to mark a visit from the King of France. They are now used in trifle and tiramisu.



Madeleine: a sponge cake from the Lorraine region of France, these little cakes/cookies get their traditional shell shape from being baked in shell shaped pans. Proust's IN SEARCH OF LOST TIME was inspired by a sense memory triggered by a madeleine dipped in linden blossom (lime blossom) tea.



In case you were wondering...

WORLD ORDER and Genki Sudo

I adore this video; Japanese pop meets Butoh, tutting, and Maori dance.

Genki Sudo is an ex-mixed martial arts master who is also an author, actor, musician and practicing Buddhist. He choreographs, writes music and lyrics, and sings for his group WORLD ORDER.

And here is the song performed in Tokyo. Watch to the end where an obvious fan gets to shake Sudo's hand.

This next song, "Machine Civilization," and its video are for Japanese earthquake relief efforts.
Sudo writes:
"The unprecedented disasters unfolding in Japan; earthquakes,
tsunami, and nuclear explosions, will somehow change things to come.
And to send my message about this, I have expressed it here with WORLD ORDER.
These disasters can be interpreted as a turning point for civilization.
I think that we have arrived at a time of revolution, shared with all
the people of the world, in today's society, economy, and political systems.
Incidents themselves are neutral.
I believe that every single one of us, wandering through this deep darkness,
can overcome anything, if only we let go of our fear, and face it all in a positive light.
The world is not going to change. Each one of us will change.
And if we do, then yes, the world will be changed.
It is darkest right before the dawn. Let's all rise up to welcome the
morning that will be so very bright for mankind.
WE ARE ALL ONE

Genki Sudo"

These earnest yet buoyant songs are infused with a sense of optimism and positivity--and the videos are mesmerizing. The choreography is astounding: subtle and masterful, it reminds me of my beloved Butoh dance troupe Sankai Juku. Sudo and his dancers have such amazing control over their bodies. Simply fantastic...

His sincerity in his music and his heartfelt message of "WE ARE ALL ONE" touches me deeply.

http://www.crnavi.jp/sudogenki/blog/

"Practice"

Practice

There’s a woman living
out of her own time.
What does this mean?
She is somewhere
she shouldn’t be.
She spends her life
trying to get back.
It doesn’t matter if
she is successful, it
just matters that
she try. The Buddhists say,
“It is only in this
that the Artist of Life
can truly practice.”

©JEF 1998

Currently listening to...

...the classic Bowie song "Heroes." I first heard this song one Friday or Saturday night when I was a young boy... my parents would go to bed and let me stay up to watch "Midnight Special" or "Don Kirshner's Rock Concert" or whatever was on after 11PM--or even after 1AM! There I was, on the shag carpet in front of the TV, when Bowie's silhouette appeared, long and slim, seeming to float in a wash of bright light. The image was stark and otherworldy. But what really got me was the sound--that sound. How to describe it? A magical, heart-stopping wall of sound that seemed to pulse from another dimension, a rumbling, reverberating drone... a roaring that could be a billion heartbeats, the grinding of time itself. I mean, come on... what else sounded like this at that time? Nothing. Bowie and genius Brian Eno created a sonic texture never heard before.

And then there's Bowie's stunning vocal performance... screaming out with emotion, his voice breaking as he howls out images that evoke concentration camps or the divided Berlin, where the song was recorded. I have heard "Heroes" probably a million times over the years, but I can still think back to that time when the sound of the music and his voice were startling, improbable, but so inexplicably fresh. Watch him perform "Heroes" and see and hear for yourself... try to feel it again like it is the first time.

As you can imagine, "Heroes" has become one of Bowie's signature songs and he has performed it many times over the years. Below is a dedicated, energetic version he performed at Live Aid in 1985...

Growing old gracefully, here is Bowie performing a soaring, anthemic version of "Heroes" in 2002...

Of course with a song this great, many artists and bands have been compelled to cover this song over the decades. Some versions I love as much as the original (it is a song that is hard to ruin, afterall). Below are some highlights of this much-loved and oft-covered song...

Peter Gabriel sings a devastatingly beautiful, trembling, painful version of "Heroes." A studio version of this can be found on his "Scratch My Back" release.
At the 2:40 mark, listen to a genuine goosebump moment as Gabriel cries out and everything falls away but those high strings, hanging there, shimmering...

Australia's national treasure, Iva Davies, does a lovely and faithful version. His elegiac studio recording of "Heroes" can be found on "The Berlin Tapes," a marvelous collection of cover songs from various artists, beautifully interpreted by Davies...

English band Kasabian offers up a fantastic, down n' dirty psychedelic cover...

And just for fun, here is Gregorian doing a perfectly dignified version...

BEAUTY: Art--Dahlia Elsayed

Dahlia Elsayed’s work fascinates me. There is something about her deceptively simple oeuvre that rivets me and speaks to me on a very emotional and abstract level.

Maybe it is the sense of maps, cartography and landscape on which she bases her pieces. On my first airplane trip when I was a little boy, I was enthralled by how the land looked from high above: the neat rows of streets and houses, the placement of and the relationship between sections of towns and cities, and the orderly squares of fields and farms. Even now when I fly, I think to myself, “The world looks so harmless and manageable from above, so unlike life on the ground.” I have an emotional and psychic reaction to the change of perspective and it is clear that Elsayed's maps are of internal, psychological landscapes.

Or maybe it is the element of organization in Elsayed’s work that appeals to me. I am a list-maker from way back, which I am sure is an extension of the need to attempt to control, somewhat, the uncontrollable life that whips around us everyday. Her use of language echoes other great artists whose works use words to great effect such as the legendary painter Ed Ruscha and Barbara Kruger. And like controversial film director Peter Greenaway who is obsessed with cataloging, listing and collecting, I too feel a need to put like things with like things, make patterns, and express a feeling of unity. Interestingly, a by-product of this need to catalog and unite is to isolate things from other things or from their milieu, the environment or habitat that created them. Elsayed’s work is infused with a sense of profound isolation and helplessness. Words or banners with phrases are pinned to lonely regions far from each other. They exist at the same time but without benefit of communication, support, or comfort from each other. Sometimes her words or phrases form a narrative, but even then, each piece of the narrative seems disconnected. For example, in “Three Year Triptych,” Elsayed shows us what seems to be a thought which sums up each of three years in a row… and it was obviously a rough three years. These thoughts are tied to a time frame and to events which we can only imagine. Then in “All The Invisible,” we seem to be making a journey from micro to macro—we may even be talking about physics—but each of these elements require distinctly different points of view. We are always marooned in time and space, perceiving each moment and area one at a time. These limitations are what keep us alive but forever separate from one other. Through her marvelous works, Dahlia Elsayed reminds me of the universal yearning for connection and transcendence.


Top to bottom: All The Invisible; August Landscape; Fog and Other Rolling Things; Jobs, Cars, Cities, Drugs; Oh, Everything; Start of the Pre-season detail; That Thing That Happened Yesterday; Three Year Triptych

http://www.dahliaelsayed.com/home/

BEAUTY: Art--Alexa Meade

Alexa Meade has found a startling way to exercise her painting skills. Instead of canvas, she paints directly onto her models and inserts them into painted tableaux. The result is a living piece of art.

Top to bottom: Natura Morta and installation view; two views of Transit; Curated and installation; Blueprint and in-progress view.

Her work reminds me of a fantastic David Bowie video for a song called "Look Back In Anger" in which a painting magically transfers itself to Bowie's face...

http://www.alexameade.com/index.html

BEAUTY: Painting--Nicola Samori

Italian artist Nicola Samori paints like an Old Master: he uses oil on copper, a technique that was popular in the sixteenth through eighteenth centuries and used by the likes of El Greco, Chardin and Rembrandt. But unlike the Old Masters, he puts a decidedly contemporary conceptual spin on his portraits. Faces and bodies run and drip as if caught in the rain... or a toxic spill. The paint dissolves and mars an otherwise traditional Old World portrait. Although I like these pieces and they seem to have a feeling of originality about them, of course one cannot help but flash on Bacon's many "Melting Popes," as seen here and here. Like Bacon's Pope, Samori's portraits offer a disturbing glimpse into a psychological layer beneath the stiffness and formality of a Baroque portrait.


http://www.nicolasamori.com/

Joyeux Avril!

The origin of April Fool's Day actually comes from sixteenth century France. Before the Gregorian calendar was adopted, the New Year was celebrated close to the Vernal Equinox, to symbolize rebirth and renewal. Once the official New Year Day was moved to January 1st, April 1st became known as Poisson d'Avril where people teased those who still celebrated the New Year on April 1st. To this day in France, people try to sneak paper cut outs of fish onto the backs of unsuspecting friends and family. If you manage to get a fish affixed to someone, you shout "Poisson d'Avril!" and scamper away laughing!

Just finished reading...

...SEVEN DAYS IN THE ART WORLD by Sarah Thornton.


Sarah Thornton’s documentary book is a nice overview of what the art world has become—or rather what the world of buying and selling art has become. It has always been apparent that the artist is mildly to very removed from whatever happens to a piece of art after it is completed. Thornton confirms this with seven chapters focusing on a different aspect of how contemporary art is hyped, marketed, sold, and re-sold. The artist is at the heart of it all though, and we see inside a “Crit” class at CalArts where art students talk about each other’s work (hence the “Crit” or “critique” part), we peek in on the machinations of Britain’s famous—and infamous—Turner Prize bestowed on young British artists by the Tate Museum, and we visit the studio of Japanese artist Takashi Murakami who, despite his insistence that he is an artist, has become an industrialized factory (his idol, he confesses, is Andy Warhol).

We also see into the manipulated world of art auctions (Christie’s) and art fairs (Art Basel in Switzerland and the Venice Biennale) where the super rich vie for and purchase works of art for staggering amounts. By doing this, they are able to shift value from artist to artist or from work to work, effectively controlling what artists become valuable and what artists’ legacies will live on... and which won't. It’s disappointing to read about this near-Machiavellian aspect of the art world that exists alongside the world of creating art, but upon deeper reflection, there will always be artists and there will always be art. On the other hand, money comes and money goes.

Recommend? Yes. It’s an informative, interesting, quick read.
http://sarah-thornton.com/