LONDON Love&Hate 愛と憎しみのロンドン

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Gagosian, in partnership with the artist’s grandson, Bernard Ruiz-Picasso, is pleased to present “Picasso: Minotaurs and Matadors,” curated by Sir John Richardson. The exhibition examines the intersection of Picasso's bullfighting imagery with his mythological and biographical compositions of the 1930s. Including works dating from 1889 to 1971, this career-long survey traces Picasso’s engagement with the ancient rituals and narratives of his native Mediterranean. Picasso, though one of history’s most innovative modernists, was grounded in the traditions of his Spanish heritage. Born in the southern port of Málaga in 1881, he was a lifelong aficionado of the drama of the bullfight: Matadors, picadors, horses, and bulls were recurring subjects throughout his body of work, from his earliest childhood drawings to some of his final paintings. In the 1930s, at a time of upheaval and personal strife, Picasso began to create allusive narrative works ripe for Surrealist interpretation, infusing the theatrical combat of the corrida with mythic elements of antiquity. His synthesis of the Minotaur myth, the Spanish cult of the bull, and the intimate details of his private life led to the creation of illustrated books, poetry, set designs, sculpture, ceramics, the celebrated Vollard Suite of prints, and masterpieces such as La Minotauromachie (1935) and even Guernica (1937). When Picasso returned to live in the Mediterranean after World War II, his work would continue to be steeped in mythology and bullfighting for the remainder of his life. His depictions of Minotaurs and matadors provide a key for biographical and scholarly investigation into an oeuvre Picasso confessed to having created as if keeping a diary. The exhibition aims to examine the proposal Picasso described in the quote above, presenting fresh perspectives on some of his myths and monsters. Comprised of paintings, drawings, sculpture, prints, ceramics, and a home movie Picasso made in 1929, “Picasso: Minotaurs and Matadors” is presented in an innovative installation designed by the Stirling Prize-winning architecture firm Caruso St. John, and is accompanied by a fully illustrated catalogue with essays by Richardson, noted Picasso scholars Michael FitzGerald and Gertje Utley, and historian of Greek art and archaeology Clemente Marconi.

Pablo Picasso was born in Málaga, Spain in 1881 and died in France in 1973. Recent exhibitions include “Picasso: Tradition and the Avant-Garde,” Museo Nacional del Prado and Museo Nacional Centro de Arte Reina Sofía, Madrid (2006); "Picasso and American Art," Whitney Museum of American Art, New York (2006, traveled to Walker Art Center, Minneapolis; and San Francisco Museum of Modern Art, through 2007); “Picasso et les Maîtres,” Galeries nationales du Grand Palais, Paris (2008–09); “Picasso: Challenging the Past,” National Gallery, London (2009); “Picasso at the Metropolitan Museum,” Metropolitan Museum of Art, New York (2010); “Picasso: Black and White,” Solomon R. Guggenheim Museum, New York (2012–13); “Picasso Sculpture,” Museum of Modern Art,New York (2015–16); and “Picasso - Giacometti,” Musée Picasso, Paris (2016–17).

Sir John Patrick Richardson, British art historian and Picasso biographer, was born in London in 1924. From 1951–62 he lived in Provence, France, and became a close friend of Picasso and his family. Richardson’s three-volume A Life of Picasso was the result of this friendship. He is currently working on the fourth volume of the biography. In connection with this, Richardson has organized six major exhibitions of Picasso’s work at Gagosian. He has been a contributor to The New York Review of Books, The New Yorker, The Burlington Magazine, and Vanity Fair, and is the author of The Sorcerer's Apprentice: Picasso, Provence, and Douglas Cooper (1999); and Sacred Monsters, Sacred Masters (2001), a collection of essays. In 1993, Richardson was elected to the British Academy. He was appointed Slade Professor of Art at Oxford in 1995. In 2011, he was named an officer of France’s Ordre des Arts et des Lettres in recognition of his contributions to furthering the arts in France and throughout the world. He was appointed Knight Commander of the Order of the British Empire (KBE) in the 2012 New Year Honours for services to art.






Revolution: Russian Art 1917-1932:芸術家も絵筆で政治に対峙することを考える

ロイヤル・アカデミィのサイトから無断拝借。The Bolshevik by Boris Kutodiev, 1920

会期最終日、なんとか時間を作ってロイヤル・アカデミィ・オブ・アーツの特別展、「Revolution: Russian Art 1917-1932」を観た。見逃さなくてよかった。ボリス・ジョンソンがロシアとの関係を悪化させているから、会期終了前に打ち切りになんてならないように願っていた。

Revolution: Russian Art 1917–1932

Renowned artists including Kandinsky, Malevich, Chagall and Rodchenko were among those to live through the fateful events of 1917, which ended centuries of Tsarist rule and shook Russian society to its foundations.

Amidst the tumult, the arts thrived as debates swirled over what form a new “people’s” art should take. But the optimism was not to last: by the end of 1932, Stalin’s brutal suppression had drawn the curtain down on creative freedom.

Taking inspiration from a remarkable exhibition shown in Russia just before Stalin’s clampdown, we will mark the historic centenary by focusing on the 15-year period between 1917 and 1932 when possibilities initially seemed limitless and Russian art flourished across every medium.

This far-ranging exhibition will – for the first time – survey the entire artistic landscape of post-Revolutionary Russia, encompassing Kandinsky’s boldly innovative compositions, the dynamic abstractions of Malevich and the Suprematists, and the emergence of Socialist Realism, which would come to define Communist art as the only style accepted by the regime.

We will also include photography, sculpture, filmmaking by pioneers such as Eisenstein, and evocative propaganda posters from what was a golden era for graphic design. The human experience will be brought to life with a full-scale recreation of an apartment designed for communal living, and with everyday objects ranging from ration coupons and textiles to brilliantly original Soviet porcelain.

Revolutionary in their own right, together these works capture both the idealistic aspirations and the harsh reality of the Revolution and its aftermath.





スペインの赤い貴婦人:The Duchess of Medina Sidonia

If she lived in a Communist state, "I would have to accept a whole series of things I don't accept: the loss of freedom of expression, of press, of gathering - precisely the deprivations against which I'm fighting in my own country."

"If I had been born in a free country, I would not have been interested in politics."


Anish Kapoor@Lisson Gallery

(とても気に入った、Tongue 2016という連作の1枚)




Anish Kapoor

Anish Kapoor, one of the most influential artists of his generation, presents a major exhibition of new work at Lisson Gallery London, marking his sixteenth exhibition with the gallery. The show explores the affective nature of painting from the multiple perspectives of Kapoor’s varied working practice. His works evince overlapping dimensions, at once image and object, illusion and representation, substance and skin, surface and depth.

The exhibition debuts three large-scale, amorphous, hybrid forms that exist somewhere between paintings, sculptures and anamorphic objects. These signal an important development into sculptural objecthood from the expressive silicone ‘paintings’ that premiered in the artist’s last London show two years ago. The exhibition features work further exploring the shift between two and three dimensions, including a pair of red stainless steel mirrors – employing different types of reflectivity – as well as a number of significant gouache works on paper made over the past six years.

The artist’s actions, whether by hand or fabrication, simultaneously build and tear apart the substance of the world, veiling and unveiling its image. These latest developments relate to and expand on a series of experiments with painted silicone that Kapoor has been working on for many years, but showing only recently, including the triptych of paintings Internal Object in Three Parts (2013-15). This work was first exhibited at Lisson Gallery London in 2015, and then travelled to the Rijksmuseum, Amsterdam later that year and were shown alongside a wider selection at MACRO, Rome from December 2016 until April 2017.

The exhibition foregrounds a maroon-red palette of colours, darkening to an earthy black, continuing his interest in the interior void and the ‘dirty corner’ of the world’s material and psychic realities. Even his concave polished mirrored works are here complicated by a coating of hazy matte colour with a seductive satin surface, which blurs and softens the reflection of space including the viewer. A rare presentation of recent works on paper sees Kapoor utilising paint to similar, visceral effect. Ranging from the apocalyptic and abstract to transcendent and gestural, the leap from paper to object is palpable without these works being containable as drawings or studies towards larger pieces.

Kapoor has been represented by Lisson Gallery since 1982. This will be his sixteenth exhibition at the gallery, which this year celebrates 50 years of working with artists and making exhibitions. In May, the artist presents his celebrated installation Descension, a perpetual black whirlpool, in Brooklyn Bridge Park, as part of the Public Art Fund’s 40th anniversary celebrations in New York.



Anish Kapoor flaunts use of "world's pinkest pink" despite personal ban from its creator


スクリーンショット 2016-09-06 13.47.49
(作品に関する全ての著作権は、Kunsthaus Zurichに帰属する)

8月最後の週末、バンク・ホリディの連休を利用してオーストリアのシュバルツェンベルクで催される「シューベルティアーデ」のリサイタルを観てきた。車を運転できない僕には着けないことも無いが、ロンドンから無理してリサイタル当日に移動するのはリスクが高く思えたので、前日、チューリヒに宿泊。チューリッヒで観たかったのは、Kunsthaus Zurich(チューリッヒ国立美術館)。













インゴルシュタット4:アウディ、夏コンサート(Audi Sommerkonzerte)

スクリーンショット 2016-07-27 16.26.38





 最後に、Audi SommerkonzerteがFBアカウントをもっていたことを思い出して、メッセイジを送ったらやっと返事が来てこの夏コンサートの責任者、ゼバスティアン・ヴィーザー(Sebastian Wieser)氏が、コンサートの翌日なら時間があるということで話を伺うことができた。








インゴルシュタット1: アウディ博物館

スクリーンショット 2016-07-20 6.11.15








スクリーンショット 2016-07-19 6.41.21


Dear Sir,

The Opéra national de Paris is offering you a special opportunity to discover its programme of ballets and operas during your next visits to Paris. Choose one or more performances from the selection below and enjoy a 20%* discount.

Book your tickets now!

The public relations department

スクリーンショット 2016-07-19 6.46.56

スクリーンショット 2016-07-19 6.47.13

スクリーンショット 2016-07-19 6.47.28



スクリーンショット 2016-05-31 12.45.52
(@Victoria Miro)







Yayoi Kusama: ‘A letter from Georgia O’Keeffe gave me the courage to leave home’

Born in Japan, Yayoi Kusama, 87, studied painting in Kyoto before moving to New York in 1957. She has staged polka-dot orgies and naked anti-tax protests; her work spans painting, drawing, sculpture and performance, as well as literature, fashion and product design. Her latest paintings, pumpkin sculptures and mirror rooms are showing at the Victoria Miro gallery in London from 25 May. Since 1977, she has lived voluntarily in a psychiatric hospital in Japan.

When were you happiest?
I am always happiest when I am making my art.

What is your greatest fear?
Solitude. Though I have a fear of death, I’d like to keep my spirits high enough so as not to fear this.

What is your earliest memory?
Making paper works with polka dots painted with my fingers when I was a very little girl.

Which living person do you most admire, and why?
I am in my ninth decade, so most people I have admired are no longer alive.

What is the trait you most deplore in yourself?
When I am not working, my thoughts can turn very dark.

What is the trait you most deplore in others?
Violence and intolerance.

Property aside, what’s the most expensive thing you’ve bought?
I don’t have much need for possessions.

What is your most treasured possession?
My next painting.

What do you most dislike about your appearance?

What is your guiltiest pleasure?
Eating cake.

If you could bring something extinct back to life, what would you choose?
I don’t know if I want to bring something back, but I would like to see nuclear weapons become extinct in my lifetime.

Which book changed your life?
When I was young, a stroke of luck led me to a book with paintings by Georgia O’Keeffe. I dreamed of going to America and escaping my family, even though I knew no one there. After seeing her paintings in this book, I wrote to her. She responded with great kindness and generosity. Her letter gave me the courage I needed to leave for New York.

What is the worst thing anyone’s said to you?
My mother did not want me to be an artist. When I left for New York, she told me never to set foot in her house again.

Is it better to give or to receive?

What do you owe your parents?
Not much. I had a miserable childhood. My father was unfaithful and my mother was angry and violent.

What or who is the greatest love of your life?
My love for humanity and for the world has always been the driving force and energy behind all that I do.

What does love feel like?
Look at my art: all my life, I have been expressing love through my art.

What keeps you awake at night?
I am an insomniac, so I often draw and write at night.

What song would you like played at your funeral?
Yayoi Kusama’s Manhattan Suicide Addict.

Tell us a joke
I don’t know any. But pumpkins have always made me smile: they are the most humorous of vegetables.



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