Blog — Page 140 of 279

CaI-Guo Qiang: The Transient Landscape

National Gallery of Victoria

The National Gallery of Victoria is yet to disappoint when it comes to expertly curated exhibitions, some of which present juxtapositions specifically orchestrated to be presented nowhere else within its halls.

This Australian Winter sees a Chinese extravaganza incarnate with the ancient terracotta warriors from Shaanxi Province making an appearance vis-à-vis four of the large-scale installations of one of Asia’s most promising artistes, i.e. Cai Guo-Qiang.

The accompanying catalogue is one beautiful exercise in not only depicting but setting the often meditative yet spectacular and never not thought-provoking installations in scene and adding grandeur to them leveraging tension and exploring the relationship of one’s relationship with terra firma, humanity at large and beauty that can be found in destruction.

The catalogue sheds light on dualism – black and white, heaven and earth, immortality and immortality, the seen versus unseen as well as the ever intriguing perpetuum mobile derived from the myth of phoenix rising from its ashes.

In essence, Qiang’s often monochrome art is an ode to spirituality at large that is relatable and accessible for both the initiated as well as the agnostic and what I find quite interesting is that equal measures of Dadaism, performance artistry as well the notion of the social sculpture can be found at is very core.

Needless to say that China’s ancient cultural and political heritage has a more than subtle omnipresent influence on Qiang’s art as it is often ground and inspired by contemporary societal problems, which creates a tension that he channels in a masterful symbiosis of tradition and contemporariness, the illustration of which is a great additional to any bookshelf.

The exhibition will run until 13 October 2019.

---

photo from gallery website

Sydney Contemporary 2019

Carriageworks

Sydney, Australia

September 12-15, 2019

For the uninitiated: Sydney Contemporary has established itself firmly on the firmament of intercontinental art fairs as the pre-eminent Australasian ones, with more than ninety Australian and international showrooms providing a forum for emissions in a myriad of media from more than four hundred artists from five continents. The art behemoth is embedded in a four-day extravaganza that is spiked with installations, special performances and sustained by artisanal fair.

A highlight of the 2019 incarnation was Tasmanian Patrick Hall holding court with his MONA-esque sculptural installation composed of multiple artworks based on the nursery rhyme ‘…if they should accidentally fall’.

Constructed from recycled materials, LED lights and spirit bottles are serenaded with hypnotic narratives that examine the fact that time flies and trickling hollows out both rock and belief – in essence a testament to human frailty.

Other personal favourites included the analogue photography of Amanda Williams and the faux medieval Tower of Power that offered a birds view of the industrious proceedings underneath.

Japan’s Whitestone Gallery presented not unlike it did in previous years works by renowned artist Yayoi Kusama, COHJU Contemporary Art (Kyoto) and newcomers LOKO (Tokyo) and MA2 (Tokyo).

Sydney’s Roslyn Oxley9 Gallery had an aesthetically powerful offering this year around and APY Gallery showcased intricate artworks from the Anangu Pitjantjatjara Yankunytjatjara lands of Central Australia, which was complemented by other indigenous art presented by Alcaston, Blackartprojects, Black Square Arts, Cooee Art and Utopia Art Sydney.

Apart from paintings, sculptures, photography and other tried media, Virtual Reality found its incarnation but it was mostly back to small scale decorative art in the cavernous labyrinth that is Carriageworks, which is not a bad thing – au contraire: I have yet to find an art fair that proffers both aficionados as well as the remotely interested with the occasion to mingle with emanating talent and indulge in art of literally all coleur.

Thus Let Us Drink Beer - Dainton Brewing

If you have followed this series it should not come as a surprise that terra australis has a myriad of crafty and innovative breweries that are constantly pumping out quality brews that push the envelope of what was thought to be possible.

While certainly many brewers dabble in channelling their alchemy to create at times emissions that seem to tick more boxes in the novelty department rather than in terms of the creation of new tastes, there are breweries that have yet to disappoint me with their output as they have consistently upped their game and even if they not manage to make me a fan of their individual expressions, make me get what they were trying to achieve:

Enter Dainton Brewery.

Founded in 2013 and initially operated in a gypsy manner, i.e. utilising the resources of existing breweries to brew small batches, 2016 saw them taking their operations to the next level with the establishment of their own brewery in Carrum Downs.

Apart from a delicious core range comprised of draughts, pale ales and IPAs, what caught my interest were their barrel-aged beers experimental beers which range from exotic fruit sours to all manner of NE as the range of accolades Dainton has accumulated are testament to.

For this instalment, I’d like to zero in on two fairly new and expertly brewed expressions, i.e. Dainton The Hybrid and the Blood Orange New England Rye IPA.

The opaque golden Hybrid, a telling name indeed: What we got here is an NEIPA that clocks in at 6.4% ABV and is in essence an exercise in fruitiness meeting a melange of new German-grown Amarillo hops to impart near perfectly calibrated deliciously piney and weedy, citrussy, lemon grassy and orange- and stone fruity flavours that leave the palate with an elongated slightly acidic finish.

Another new addition to the Dainton family is the Blood Orange New England Rye IPA.

Now, what might sound like an abomination to the traditional lager lover, works surprisingly well.

What pours with a golden hazy orange hue in your class, is dominated but not overpowered by sweetness and a refreshing orangey aftertaste, underpinned by subtle nuances of bitterness that accentuate the wide territory that is covered taste-wise.

I for one quite dig how hop forward it is and how it combines tropical fruits with rye aromas on the nose, while the roof of the roof is tickled by slightly spicy and tangy citrussy flavoursomeness that culminates in an elongated crispy finish with a creamy mouthfeel.

In essence, it proved to be quite a suitable companion when one half of the Boilermaker to accompany an Ardbeg Perpetuum was missing.

Architecture and Action

Cambridge

Is the way buildings are designed significant?

Does it affect you, your well-being and the world at large?

Some say that if a building becomes “architecture” then it effectively morphs into becoming a piece of art. Over the time, the function of the desicipline has changed along with the advancement of technology and the challenges we see ourselves confronted with. For me, architecture has always been inextricably linked to design, i.e. the notion that form follows function.

However, so much more has entered the equation, i.e. shortage of housing, carbon emissions and footprints, social injustice, the effects results from migration, et cetera.

The book explores the history of art building design, its significance and positioning as well how its education has changed over the years. It is fascinating how now these days one is required to not only conducted extensive research but work on such topics like resource management, cause and effects of the movements of refugees, usage of materials and the ever-present challenge of climate change.

Building design is no longer passive and relegated to the drawing board – the profession has evolved and demands a holistic, pro-active approach, the manifestation of which includes technological, historical and scientific components and the effects of which ripple through all facets of our lives.

The tome is much less dry than its cover suggests and exemplifies through the presentation of past and current projects, elaborations and essays from a wide range of luminaries from realms as diverse as history, art, technology and science the value, need for action and responsibility of the discipline.

I specifically found the way how MIT’s Department of Architecture has changed its approach to the structure of its faculty and shift of focus fascinating as well as how idealism and even utopianism plays a role that should not be underestimated.

Water of Life – Bakery Hill

Now, this instalment of our series is a special one – special because Bakery Hill is the one distillery that almost got away. I have pursued the oldest and most established single malt distillery on Australia’s mainland for quite a while and every time I came across a bar that had their offerings on the shelf, I partook and savoured every drop.

Bakery Hill Distillery, whose emissions have not only accumulated accolades but have met such an extensive demand that they had to curb their export endeavours to focus on satisfying the local appetite for its exquisite drops.

Having learned more about Bakery Hill and their approach to distilling, this does not come as a surprise as not only all facets are informed by a quality first and borderline scientific approach, but minuscule attention to detail is paid when it comes to maturing their single barrel whiskies, the content of which will only be released when it has met their internal benchmark set by founder and ex-chemist now chief alchemist David Baker.

We have had the pleasure of being guided by Andrew Baker, Operations Manager and distiller from Bakery Hill Distillery, through the history of Bakery Hill Single Malt whisky. The evening could not have found a more suitable ambience as it was held within the stylish and classy confines of the recently opened Highlander Whisky Bar, which we have covered before.

The evening started with the warm, fruity and welcoming Single Cask Classic Malt. Given that it is a no age statement, young drop, it is not surprising that after the nostrils are tickled by a melange of fruit and yeast, alcohol heat cuts through waves of vanilla and before it finishes with a spicy oaky crescendo. While it is not overly complex, it is on the flavourful side of things and hinting of what was to come next.

Bakery Hill Double Wood took things to the next level: Matured in ex-bourbon casks before being finished in French oak casks, this drop is an example par excellence for combining layers of subtle flavour nuances, the total of which is much bigger than the mere sum of its individual components: The aroma is already an experience in itself with sweet vanilla dancing with passion fruit and sweet spices, which seamlessly transitions to what materializes on the palate: Orange chocolate meets nuances of mango, plums and culminate in an unexpected spicy finish.

Expectations were now high as we had not even progressed to the Peated Malt expression I had been looking forward to.

Matured in American Oak, the peated golden drop is not exactly peat forward – au contraire – on the nose the aromas of peat are framed by fruity and earthy undertones, which interweave in an intriguing manner. The first impression that it is reminiscent of the peated, more sophisticated Speyside whiskies is confirmed by what materializes on the roof of the mouth: Earthiness dominates is pierced by hints of fruity and a subdued smokiness, only to arrive at a charismatic elongated finish. A brilliant drop that again raised the bar.

However, the ultimate highlight was yet to come: Andrew Baker was so kind to share a sample of Bakery Hill’s limited Sovereign Smoke expression and boy, was I in for a treat.

To fully savour the experience, I paired the whisky with a Hop Nation Jedi Juice IPA and while I got a weak spot for well-matched boilermakers, this one proved to be one that will be hard to rival.

Bottled at 50% ABV, the limited-edition Sovereign Smoke hints at Islay heavyweights on the nose, however, there is a twist to it as the peated barley is imported from Belgium and adds coastal peat aromas that are reminiscent of the Hebrides yet are enriched by salty nougat and sugary undertones.

Matured in ex-bourbon barrels, the palate is serenaded with complex nuances that run the claviature from salty ends of the spectrum to sweet via detours to malty territory.

It is testament to Bakery Hill’s art of distilling that even Sovereign Smoke with its higher peat level maintains their trademark distinct sweet DNA at its core, culminating in an elongated finish that is smoky in the most subtle manner, framed by tobacco and brown sugary sweetness.

Delicious.

---

Photos by @k.a.vv