Blog — Page 150 of 281

FKA Twigs

Carriageworks

Sydney, Australia

June 9, 2019

Full disclosure, up to tonight I had not been exposed to the microcosm that is FKA Twigs – a circumstance I quite enjoy when it comes to exploring and experiencing artists and one that is rarer to come by in this digital age where information is at your fingertips.

The venue could not have been chosen better, with Carriageworks reinventing itself and upping its game consistently and specifically for the annual ViVid Festival having refined the art of hosting events that is reminiscent of what has become the trademark of MONA’s Dark Mofo Festival. Tonight’s dimly-lit cavernous set-up magnified the performance manifold by serving as a giant canvas for what was to unfold.

From a distance, FKA Twigs evoked the impression to be an underground art pop phenomenon that seemed to be a hybrid of the more accessible components of Bjoerk and Sigur Rós paired with a dazzling display of ballet and dance.

However, what materialized on stage proved to be an audio-visual assault that went beyond the realm of what one would conventionally expect from a show of a singer. Tahliah Barnett is an artist that channels a myriad of influences into an idiosyncratic alchemy of her own.

It is delightful how FKA Twigs in a live environment defies categorization as her interdisciplinary show is abstract yet engaging, attention-grabbing yet subtle, atmospheric and ethereal.

Musically and specifically when it comes to the vocal delivery, one cannot ignore the nods to “Wuthering Heights”-era Kate Bush, however, a more fragile, tremulous, multi-tracked, polyphonic and sorrowful variant. While this could lose its appeal after a while, the fact that the very physically oblique and highly stylized show mixes a myriad of costume changes, otherworldly digitally menacing club vibes and effortlessly formidably performed intricate dance performances, which add layers of depth and dramatic reveals.

An ambitious, high pitched, effects laden and meticulously tour de force that lays bare raw emotions and with FKW Twigs’ poise and prowess, managed to hold the audience in its thrall for the whole duration of this challenging performance.

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photo courtesy of artist website

Energies in the Arts by Douglas Kahn

The MIT Press

Hmm, “energy”. . . the good ole indestructible conserved quantity that is convertible in form and can be transferred to an object in order to get work done. Douglas Kahn’s book explores that inhabit whatever is part of or expressed within the confines of the arts.

Now, claiming that this is a wide and multidisciplinary field is an understatement as the research casts its web ranging from anthropological concepts via the energies expressed through material manifestations via phenomena like sound. Each domain is illuminated and substantiated by essays of discipline leaders, the essence of which each add a facet to a whole that is much bigger than the sum of the parts this tome can contribute.

Kahn’s achievement lies in not only questioning the concept and core definition of energy by taking a more expansive view on it, but also view it from different historical angles that provide an intriguing perspective on the emergence of what eventually became schools of thought and art.

A particularly interesting field that is shed light on is photography and the capturing of energetic processes as well as innovations in the realms of electricity and electromagnetism that opened new possibilities and revolutionised the world of the arts.

Another one is spirituality and cultural exchange as well as the overlapping between music, spirituality and science and, most interestingly, the energy of actual reactions to the arts and the ramifications in terms of inspirations, critics, rumours and so forth.

It is fascinating how each extract serves as fertile ground not only on what energies are created but the how and the effect it has, which more often than not creates a perpetuum mobile.

The book itself becomes a very energetic medium that can be used as a tool to motivate and inspire more energetic acts that can be of artistic nature but do not necessarily have to be.

Water of Life - Buffalo Trace

It has been a few moons between visits to the Big Apple – visits that will never run danger of losing their appeal that comes with plugging into the electrical current that keeps the city pumping and ultimately makes it one of the most exciting places on this earthround.

Every time I hold court in NYC, there are new discoveries when it comes to bars and restaurants that set benchmarks when it comes to their offerings, service and infusing traditional approaches to hospitality with their own idiosyncratic spin on things.

One that has established itself firmly on my radar is Employees Only, which not only replicated tried and tested speakeasy aesthetics but managed to create an DNA of its own by creating a refined hybrid of a cocktail bar mixed offerings sustenance that brings a bit more to the table than the bar food one finds elsewhere, i.e. hearty bistro inspired fare drawing on the French background of the head chefs, including the brand’s signature “staff special” at a discounted price. The fact that it is opened until the wee hours only contributed to the allure.

Needless to say that I was excited and intrigued to explore when it came my attention that a branch had opened on terra australis – a quite timely endeavour given the prohibition theme and Sydney’s current antics when it comes night life.

Upon tumbling down the stairs of the heritage listed building, subdued lighting and an ambience amplified by the dark timber fitout eased on into the stylish haunt that is Employees Only Sydney, with the beautiful brass-topped bar being the centrepiece of the operation and a tarot reading by the resident Tarot Reader thrown in for good measure. Given that Employees Only’s co-founder Dushan Zaric and partner-in-crime Robert Krueger made sure that the Australian branch is in line with the original idea that informed the establishment of the NYC staple, it is not further wondrous that attention to detail had been given priority.

Now, as if Employees Only did not have enough to offer for itself, tonight saw the descent of Dan Ritchie – a gentleman wearing many hats as part of his involvement with SouthTrade Int, with tonight’s one pertaining to his Buffalo Trace brand ambassadorship.

After a general induction into the world of bourbon, how it is classified and what determines its components and production process, the eclectic group of individuals comprising tonight’s group was guided through a tasting that started with the classic Buffalo Trace, which is fabled to be batched from no more than 50 barrels at a time and is aged on the middle floors of BT’s various warehouses where it experiences the most temperature changes.

What hit the nostrils was proved hard to resist – think notes of caramel and vanilla that is pervaded with an intriguing hint of spice.

What materializes on the palate continues the journey and adds some more prominent spice and coffee notes as well as nuances of oak. Given that Employees Food was to be served, the fact that the finish was full-flavoured helped evoke a Pavlovian response. A solid example of what an affordable Bourbon can be.

Things were taken up a notch and a half with the Eagle Rare expression, i.e. one that proved to be dangerously moreish, as the other attendants of the tasting could attest to.

Fruity notes tickle the nose – there’s citrussy nuances blending in with orangey bits that rest on a bed of caramel and sweet oak. Now, the palate experience is something else: Peppery spice, leathery walnuts and more oak, which transitions nicely to the culmination of and spicy oak finish.

Brand ambassador Dan ‘s comparing the Eagle Rare to a “Chardonnay bourbon” instantly made sense.

Blanton's was next, the only one that I was familiar with as some of its expressions take a liquor shelf space in my humble abode.

Sweet and spicy on the nose with caramel-ey and vanilla notes, it hits the palate with what I would compare to the top end taste notes of a dark chocolate caramel milkshake with burnt fruity brown sugar topping and hints of leather in background. Sounds confusing? Trust me, makes perfect sense once it passes your lips.

The finish is elongated and rides on waves that of what was hinted at the palatal stage.

Dark, rich, very enjoyable indeed and I am tempted to compare it to the excellent 1792 line.

Now, just when one thought we had peaked, Dan pulled out another bottle from under his chair and much to the delight of the group, a highly sought-after bottle of Colonel E.H. Taylor found its way to the table.

It was my first exposure to the Colonel and claiming that I was delighted to make his acquaintance would be an understatement par excellence.

On the nose, a complex smorgasbord of goodness unfolds – there is honey, cinnamon, vanilla and lots of oak, the latter of which transcend over to the palate, where it is married with pepper and more of the components in an amplified manner.

The finish is elongated, warm and brings the best parts together again for a revival.

Summa summarum, a complex, finely calibrated bourbon that will make my list of go-tos and one that concluded a wonderful evening in the surrounds of Employees Only, which I hope will host similar tastings going forward.

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Photo by T

Neo Rauch

Michael Glover

Lund Humphries

Now, here is an interesting one that might not necessarily be on everyone’s radar: Neo Rauch has come to prominence via subtly exposing political unjust and the decline of Western civilisation and alienation by channelling them through his multi-layered, dreamscape like scenarios that are heavily influenced by surrealism.

What I have come to appreciate with Rauch’s art is that there are nuances that are reminiscent of a wide range of archetypical artists, e.g. Dali, Richter, almighty Francis Bacon and Otto Dix. One could go as far as claiming that Rauch’s oeuvre is a smorgasbord of the who-is-who of the current art scene without falling prey to merely copying the originals.

This tome proves to be a great introduction to Neo Rauch with great full-colour reproductions of his major artistic emissions, along with the provision of interpretative elaborations that not only shed light on Rauch’s methodology but enrich and inform the view on Rauch’s idiosyncratic post-communist surrealist approach.

It is fascinating to see the references to the decade of the 1940s and how he weaves them in through the ages and draws on them while depicting contemporary elements, while basing his art on Social Realism, allusion to historical events and iconography that blends in with Romanticist and Baroque elements that have coined his formative years. The kicker with Neo Rauch is that by doing the he borderline created historically relevant moments in themselves.

This monograph provides a thorough examination of the paintings of an artist whose work has been informed by many and varied influences and whose artworks can be found across major museums across the globe.

Le Salon Dada - A Surrealist Dinner and Show

Claire’s Kitchen

It has been close to fifty years since the Rothschild’s much fabled about “Surrealist Ball” was held and attended by a smorgasbord of influential figureheads of the early 1970s – an event that seems to have been more than merely vaguely inspired what Stanley Kubrick channelled via Eyes Wide Shut.

Fast forward to Sydney, Australia and the year 2019, era vulgaris where everything is available at any time at the tip of one’s finger. It becomes increasingly rare to find events that are not only labours of love but orchestrated with a dedication and attention to detail that stand out from the prefabricated mainstream offerings that have infiltrated pretty much every nook and cranny of niches.

Enter Marc Kuzma, who also goes under the guise of Claire de Lune.

Monsieur Kuzma is one deliberately and delightfully weird (and weirdly delightful) curator, conferencier, restaurateur and artists that has created the magical event that goes under the umbrella of “Le Salon Dada - A Surrealist Dinner and Show”.

One feels reminded of a French equivalent to Jeff Goldblum in terms of the host being charismatic, surreal, eccentric and brilliant are adjectives that come to mind when encountering Marc Kuzma in the flesh and one feels tempted to extend them to the evening that is about to unfold once one has entered Claire’s Kitchen.

Taking literally a few pages from the extensive books of artists like Salvador Dali, Joan Miro, Marcel Duchamp and René Magritte, six dinner courses are imbedded within an evening of eclectic and immersive entertainment.

I have been sworn to secrecy as to the details of each course, the presentation and the accompanying eclectic and never not surprising performances but rest assured that all your senses will be aptly tickled and tackled from every angle imaginable by what this pop-up event entails.

In essence, imagine paintings coming alive, music becoming synesthetic, food and its presentation being elevated for beyond the level of mere sustenance and you becoming part of the whimsical, lavish, eccentric and imaginative offerings.

Claire’s Kitchen culinary emissions draw heavily on the best French cuisine in terms of sweet and savoury has to offer but the twist that the art on the respective plates are presented with add multidimensional layers to what is not only a literal and visual feast already.

Nothing and everything is as it seems and that is exactly what makes part of the appeal.

An exercise par excellence in a finely curated and near perfectly executed immersive dinner experience that is both inspiring and will stay with you.