Blog — Page 125 of 277

Fire Fight Australia

ANZ Stadium

Sydney, Australia

February 16, 2020

It has been thirty-five years since the eponymous Live Aid festival was organised by Bob Geldorf to raise funds for relief of the ongoing Ethiopian famine – the impressive array of artists that participated made it one of more memorable festivals in the aeons of rock and pop.

Fast forward to 2020 with Bushfires having destroyed countless homes, claiming  lives and razing over ten million hectares of bushland, the “Live Aid Down Under”, i.e. FIRE FIGHT AUSTRALIA invoked the spirit of Live Aid in assembling international and local music icons to share one stage for Australia during its time of need to raise money for NATIONAL BUSHFIRE RELIEF in a bid to provide key organisations providing vital “Rescue”, “Relief and Recovery”, “Rehabilitation” and “Rebuilding” assistance in affected areas.

The eclectic line-up was of a calibre seldomly seen on stages on this earthround with the cream of the crop of artists currently touring terra australis, including Queen + Adam Lambert, k.d. lang, Michael Bublé, Alice Cooper and Ronan Keating alongside a diverse potpourri of Australian artists like 5 Seconds of Summer, Amy Shark, Baker Boy, Conrad Sewell, Daryl Braithwaite, Delta Goodrem, Grinspoon, Guy Sebastian, Hilltop Hoods, Icehouse, Illy, Jessica Mauboy, John Farnham, Lee Kernaghan, Olivia Newton-John, Peking Duk, Pete Murray, Tina Arena and William Barton.

More than seventy-five thousand people packed the ANZ stadium in Sydney and over one million watched from home as rock royalty Queen re-enacted for the first time what is widely considered as one of the greatest live performances of all time to a sold out Wembley Stadium in London for Live Aid. The Sydney version included Freddie Mercury making an appearance with his iconic "ay-oh" recall sequence and stage banter, which the audience frenetically engaged in. The show was my first exposure to the new singer, i.e. Adam Lambert, who delivered in spades at least as far as vocal delivery was concerned. Needless to say that Queen was more than a worthy headliner, whose performance clearly crowned the festival. Pun intended.

Witnessing Alice Cooper and his worthy constituents, i.e. his tight band with Nita Strauss in charge of lead guitar, incarnate on stage is never not an experience and today was not an exception: With a short but to the point performance, Cooper delivered a best-of set that was not only a local highlight but heralded the second half of the day with a bang.

A nice change of pace came courtesy of local hip hop stalwarts Hilltop Hoods, who seemed to feel very comfortable serenading a stadium sized audience, as well as k.d. lang, who, dressed in all white delivered a breath taking and subtle rendition of Leonard Cohen’s “hallelujah”.

The finale of this great day could not have been more Australia with John Farnham teaming up with Birri Gubba man Mitch Tambo, who shared vocal duties on “You are the voice” in Gamilaraay and a traditional, aboriginal dance.

Just when one thought things had already been dialled up to eleven, Queen guitarist Brian May joined Farnham, who was later on joined by local favourite Olivia Newton-John.

A grande festival put together in very limited time, which helped to raise close to ten million dollars for a great cause.

Click here if you’d like to donate from the US.

Otto Dix – The Evil Eye

Prestel Publishing

Ah, Weimar!

An intriguing period that specifically in the Rhineland region has spawned artistic conglomerates that revolutionised what art was thought to be. Having started out with producing straight forward portraits, evolving via flirts with Dadaism and Otto Dix has become a luminary spearhead

While Otto Dix’s oeuvre has had many exciting phases, The Evil Eye zeroes in on the monographic early years of his career in which he persevered to evolve from expressionism and Dadaist elements to what became known as “Neue Sachlichkeit” by portraying the features of his contemporaries channelled through his very own lens.

The Evil Eye covers both watercolours, drawings and etchings which seem to be focused on Dix’s experiences from the trenches from World War I, i.e. battle wounds and the mayhem of war, as well as artworks that shed light on his impressionistic side and the commissioned works, which are tamer by comparison yet still exhibit Dix’s flair for realism.

Needless to say that Dix is not limited to the aforementioned two ends of the spectrum but also explores cartoon-ish works and mixed media pieces, which serve to accentuate and give anatomic details a dimension of depth.

If you are remotely familiar with Otto Dix, you would not be surprised that taboo topics play a prominent role in how he surgically portrayed what he perceived to be the truth and essence of his time.

The fact that the tome includes watercolour painting that he did for his children or which alternatively alluded to biblical extracts, portray Dix as an artist with many facets and one with a point of view through which viewing the atrocities and aftermath of the first World War as well as what the Republic of Weimar had to offer, adds another dimension.

A book that is essential for both Dix aficionados as well as the uninitiated.

Yves Zurstrassen – Free

Mercator Fonds

A name like Yves Zurstrassen, at least the correct pronunciation might not roll easily off your Anglo-Saxon tongue and it might be an artist that has not crossed your path so far.

I have to admit that I was not too terribly familiar with his oeuvre either and was therefore quite delighted to be able to acquaint myself intimately with how he traverses from the expressionistic abstract to lyrical abstraction or the other way around. The common denominator of Zurstrassen’s art his idiosyncratic approach to go far beyond temporality by playing with principles of collages, differently textured papers, the removal of paint, cut-outs and meticulous layering of colours and shades.

In essence, it really has to be seen to understand and fully appreciate how the layering of pigments interact with the underlying canvases and his calibration of application and withdrawals create a musicality that is accentuated by the often floral and wavy patterns he applies – a feat that is reminiscent at times of Matisse and Stuart Davies.

In many aspects, the way Zurstrassen channels his alchemy reminds one of the painted equivalent to jazz.

Zurstrassen is an artist who has created his own realm, independent from mainstream constraints, labels and categorical confines and given that, the tome could hardly have been titled better than “Free”.

Henry Darger

Prestel Publishing

“Outsider art” is an interesting term as it can pertain to art outside the confines of the well-trodden path of mainstream art and autodidactic artists that add another enriching facet dimension to the culturally sanctioned world of art as well as a questionable justification for less works that lack merit.

Henry Darger can be firmly placed in the first category and this opulently illustrated tome does not only portray his oeuvre but also elevated him to be a major protagonist of the current art scene.

Stating that Darger’s works are rooted in his own, characteristically peculiar fantasy world would be an understatement par excellence as it has become his trademark and anyone remotely familiar with some of his painting would be able to identify them as his from a long way off.

The book does justice to the at times disturbing scenarios that Darger creates, some of which are displayed in all their glory via foldout illustrations and gatefold. The works being embedded in essays that have been carefully curated by Klaus Biesenbach, Darger’s uniqueness is highlighted even further and light is shed on his use of religiously tinted agendas, the importance of his idiosyncratic use of abstract compositions and the frequent use of what has become his trademark duality between violence and innocence as well as the materials his used.

The book is nicely balanced and informed by an objective approach that does not lack welcome delicate criticism.

Having been a fan of Darger for the longest time, I was quite pleased to hold a book in my hands, which accentuated the artworks with the precision printing and colour palate and does justice to a man that is often misinterpreted and whose allure has always been heightened by being an enigma.

A gorgeous and solid compendium that should not be missed from any halfway decent art book agglomeration and one that not only signs the praises of the artist but put his work into perspective and contextualises it both historically as well as the art world.

January - Part 2: Sex, Chubs, and Bloc & Roll

Let's jump into some of the stuff that kicked off my new year. A couple of albums came at the helm of my wife. She's been getting into White Reaper lately after their newest album, You Deserve Love. Many car rides have been accompanied by this record. It's a really catchy form of Garage-Rock. When we weren't listening to White Reaper, it was usually Courtney Barnett. I'm already familiar with her two albums and her collaboration with Kurt Vile, but neither of us had listened to her earliest work. In anticipation of seeing her in February, I decided to check out A Sea of Split Peas, which is composed of her first two EPs. While it's got some good tracks, there's no denying she got better with each release.

The start of the year tends to be a little light on new albums, but there were a few I gave a listen to. Amongst them was Chubby & the Gang's debut album, Speed Kills. If you're unfamiliar, Chubby & the Gang are a raucous London based, Pub-Rock group. It's fast, it's loud, and it's fun to listen to! While we're on the subject of London Punk bands, so, up until this year, I had never actually listened to Nevermind the Bollocks. I've been so overexposed to "Anarchy in the U.K." and "God Save the Queen" that my interest in actually listening to the entire album had become pretty tenuous. I decided to finally dive in when my wife and I were driving home from a day trip to the mountains. The track that stood out the most to me was "No Feelings." It was basically the Sex Pistols channeling New York Dolls, which from my understanding was the point, and they nailed it. I probably would have loved this album in my teens, but listening to it now, I'm kind of lukewarm. It's not an album I'll find myself returning to often.

One of my favorite releases from last year was Better Oblivion Community Center's album, and I really enjoyed boygenius' EP in 2018. I hadn't actually listened to any of Phoebe Bridgers' solo stuff other than "Motion Sickness" though. With a little encouragement from a friend of mine I gave Stranger in the Alps a listen, and I figured I should check out Julien Baker's, Turn Out the Lights while I'm at it. Both are beautiful albums, but damn did Baker's make me feel short of breath and cornered. An amazing album, but one I have got to be in the right mood for.

To offset the suffocating nature of Turn Out the Lights, I went to the opposite side of the spectrum with Rammstein, Emperor, and Imperial Triumphant's, Vile Luxury, which is a blend of Black Metal and Jazz... somehow. It's pretty much an hour of chaos. I didn't include any metal tracks for this playlist because frankly, there wasn't a way to not make it jarring, haha. I'm sure I'll have a spurt of Metal intrigue one of these months that will result in a more Metal oriented list.

So yeah, that's just a few of the albums I've listened to for January. if you're curious about what else was coming out of my speakers, just check out the playlist: