Blog — Page 183 of 282

Big Poppa’s Cheese Club

September 23, 2018

Sydney, Australia

Equilibrium.

Balance.

Yin and yang.

Ebony and ivory.

The fusion of seemingly different components merge their features to something bigger than the sum of its parts would suggest. Musings on the need to be aside, pairing artisanal cheese with a decent wine is never not a winning combination in the flavour bliss department – a department that forms the foundation and vantage point for the fine people behind the hip hop themed destination restaurant Big Poppa’s, their trademarked Cheese Club and its objective to hit harmonious notes while gently taking its members outside the zones they would normally feel comfortable in.

Big Poppa’s expertise, when it comes to classic pairings, does not result in them claiming that they know it all. Appreciating that everyone’s palate is different and unique, they provide different combinations as part of their carefully curated sessions.

Acknowledging that every country has its own individual identity and that cheese and wine will often have evolved side by side in particular parts of the world, they take it a step further and pair e.g. Australian grown Italian wines with cheeses from other corners of this earthround chosen by Big Poppa’s executive chef, Liam Driscoll – which was the case for tonight’s sessions.

Andrew Jamieson, the mastermind behind Andrew Jamieson Wine Merchants' is usually responsible for helping to blend Big Poppas’ House Wine pours. Tonight he was expertly educating us about Italian varietals, their acidity levels, tannin, their attributes and how they have been successfully grown and cultivated on terra australis, while Big Poppa’s bar manager and hardcore turophile Chris Garner MC’ed through the textures and idiosyncrasies of the cheese offerings.

The proceedings were kicked off with a crisp and young dub style skin contact Vermentino Mc Laren from South Australia whose delicate acidity met a delicate and milky, fatty and dense Penny Bu, which cut through the latter’s heavy and rounded character.

The highlight of the evening came next with Inkwell’s Primitivo Mc Laren paired with an earthy and sharp Trebbione Sheep Pecorino from the Tuscany before affairs were rounded out with a Siamo & Co. Nebbiolo from Alpine Valleys in Victoria, which was paired with a melange of a rich and funky sheep and goat milk mild and a luscious Testun Al Barolo from the Piedmont region, which again conveyed the quintessential flavours of Italy with its intensity, tang, saltiness and depth of flavour.

Was the aforementioned one long delicious run-on sentence? Well – good, because it accurately describes the evening.

A rich and sweet glass of the Old Redemption XO Tawny was proffered to finish affairs and left one lusting and intrigued for what Big Poppa’s will be planning for the next instalment.

If you are ever in Sydneytown and not averse to cheese, vino and Italian fare in an ambience that is accentuated by constant serenade of classic hop hop, it would be hard to go past Big Poppa’s.

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Photos by @k.a.vv

Delacroix

Barthelemy Jobert.

Princeton University Press

Alright – Eugene Delacroix.

To describe this French craftsman as “prolific” would be an understatement par excellence. His oeuvre is expansive and very diverse and it is not for a lack of trying to cover all aspects of it, as there is a myriad of books tackling his output from a vast array of angles – angles which tend to change throughout the ages.

Barthelemy Jobert is a luminary when it comes to his subject, i.e. being professor of Art History at the university of the Sorbonne, his tome on Delacroix is informed by the extensive access to his illustrations from all major galleries in France along with elaborations on Delacroix’ ornaments that adorn Paris’ public buildings, which is particularly interesting as most of them are usually not open to the public.

Despite his academic background, Jobert shares his insights in an accessible and engaging manner that caters to both the uninitiated as well as the scholar.

His book is thoughtful, well-paced and he does not hold back with his conclusions and how he arrived at them. If you are not familiar with Delacroix, it is hard to imagine that you could source a better guide to induct you.

What I like about Delacroix is the ferocious manner in which he borderline attacks motifs, which radiates from his paintings. This opulently illustrated book does justice to the detailed depictions of blossoms along with topical biblical and Shakespearean compositions, his strong grasp of architecture and the authentic and attentive homages to wild life, which still inspire terror and awe in equal measures.

If you are remotely into 19th-century European art, it would be your loss if you missed out on this frank portrait of Delacroix – an artist that is commonly considered both the first modern artist and last classical artist. An artist whose emissions elicited a powerful riposte that is partly due to his adulation for the old masters, which reverberates in each of his paintings.

Home for Surrealism

Arts Club of Chicago

Surrealism. Dreamlike paintings.

Salvador Dali and his works spring to mind.

Not necessarily Chicago, however, as this book illustrates the windy city and the Midwest in general seemed to have been fertile ground for surreal artists in the mid of the twentieth century.

A Home for Surrealism depicts those paintings, which were created by artists that took the European school of surrealism, reflected on it and made it their own. Their redefinitions of surrealism run the gamut from upbeat daydreaming to having the abyss of nightmares gazing back into you, depending on the individual psyche of their creators – which is an interesting point of difference: Traditional surrealism was more or less a movement of sorts, partly politically inspired, while the American equivalent is more of an exploration of the mind and imaginations spurned by it.

The book comprises meditations, depictions of landscapes, self-portraits and many other styles created with different media and methods of painting.

If one had to determine a common denominator, it would be the meticulous approach and the nuances in which things are intentionally wrongly depicted. If one was to contextualise the Midwestern surrealist movement of the 1940s and -50s, it stood out against the predominant trends of the era, an era where abstract expressionism reigned supreme, by interpreting the European movement as something more personal and accessible and merging it with fantasy – fuelled by jazz, blues and Beatnik traditions.

The book supports the notion that Surrealism in Chicago, i.e. the refusal of the status quo and the embracing of the unreal, in Chicago shaped and reverberated through the arts scene in the Midwest ever after – along with what appears to be an innate desire to question and redefine things that seem to be set in stone.

Sydney Contemporary Opening Night

Carriageworks

Sydney, Australia

September 12, 2018

Basics first: If you zone in on Australasia’s Art Fair, Sydney Contemporary is a brightly shining beacon that attracts an eclectic melange of renowned and upcoming artists,  local and international galleries, collectors, connoisseurs, aficionados, industry professionals and art loving public on terra australis.

With Carriageworks, the multi-disciplinary art precinct, serving as the stage, a myriad of curated sectors, e.g. installations, talks, workshops and performances in form of a multitude of presentations and media pervading every nook and cranny of the vast venue the previous Eveleigh provides.

Ever since its inception, Sydney Contemporary Opening Night has never not been a highlight of the social calendar and claiming that the evening is condensed with events, performances and entertainment would be an understatement par excellence.. This year was certainly no exception:

A ritualistic performance was staged Sydney Dance Company’s Pre-Professional Year 2018 dancers in collaboration with Paris-based Australian Visual Artist Mel O’Callaghan: Pervading the crowds, the dancers underwent a breathing ritual fueled by a musical score that serenaded the performance.

The elemental and explosive connections between earth and the air were explored by Emilty Parsons-Lord  via a volatile pyrotechnic performance with the fireworks being coloured and merged with minerals.

Lauren Brincat paid tribute to Carriageworks as a venue with a site-specific dialogue between two drummers, who explored the space sonically and percussively.

Not that there was much doubt but he fourth, and now annual, Sydney Contemporary 2018 is a living proof that Sydney has firmly cemented itself as the presenter as Australia’s pre-eminent art fair with local and international galleries and artworks by big names like Damien Hirst and Tracey Emin along locals like  Ben Quilty, Tracey Moffat, Reno Rekkie and Patricia Piccinini.

While the event map is a useful and needed resource because of the wealth of exhibits and performances, tumbling down the corridors of Sydney Contemporary at Carriageworks without any guidance is a rewarding and gratifying experience: A voyage of surprise and delight as literally every time one turns a corner, some new and exciting can be discovered – especially from galleries, exhibitors and artists that so far have not been on your radar.

Both the 2017 and 2018 incarnations of Sydney Contemporary were expertly-curated events and borderline overwhelming experience that makes one simmer with excitement for 2019.

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Photos by @k.a.vv

Mark Lanegan

Factory Theatre

Sydney, Australia

September 18, 2018

Mark Lanegan.

The Screaming Trees.

Queens of the Stone Age.

If you are remotely into the darker realms of music and do not mind digging a bit deeper, chances are that you  familiar, if not enamoured with not only his high profile collaborations but especially the bleak early solo albums of Mark Lanegan.

The fact that the man has never not been relevant and that his recent emissions borderline eclipse his early oeuvre is testament to his legacy and only adds to the appeal of the dark alchemy he channels with his caustic, leathery baritone.

With a tight backing band that delivers the nocturnal, psychedelic, at times vile yet always soulful bluesy rock foundation, Mark Lanegan thrones with his growls and navigates through the evening like the captain of a ghost ship, displaying differently darkened facets of his personality.

Mark Lanegan holding court in a live environment is in essence subdued world weary gloom glam par excellence, if there is such a thing:

Always brooding, clutching the mic stand with an iron grip, confident and in equilibrium with himself, he is grinding and filling the space of the Factory Theatre with his idiosyncratic intensity and distinctively rich, effortless versatile gravely vocal delivery, which is always the focus of the performance.

The set tonight was deliberately slow-burning proof that Mark Lanegan, despite his vocals being rooted in a limited register, is more than a mere grunge / alternative music icon playing the character of a traditional anti-hero:

He is as relevant as can be – a rare identify that has aged as well as his back catalogue.

It feels all too  good to be scorched by the dry witted, barren and evocative atmosphere that radiates from this survivor, whose songs of the recent album Gargoyle weave in perfectly with the classic noir he has become known for.

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Photos by @k.a.vv

Sydney Underground Film Festival 2018

Factory Theatre

Sydney, Australia

September 13-16, 2018

Constantly growing, the 2018 Sydney Underground Film Festival marked the twelfth edition of an extravaganza that has established itself as one of “the” events on the calendar of film enthusiasts. With a dedicated hands-on team of directors and a well-curated program, SUFF is aimed at nurturing cinema culture that not only challenges the status quo and the complacency that defines the lowest common denominator of mainstream movies but also injects life and gives exposure to creatives in need of a forum - in essence a platform for filmmakers whose work would otherwise not be seen.

In a world where mindless blockbusters reign supreme, it creates a niche and aims to change an ingrained culture of cinematic complacency and revitalise an enthusiasm for the very essence of cinema.

It serves as a springboard for local talent, as the screening of their movies more often than not gains them access to distribution deals and other markets.

So far for the mission statement in theory.

The actual four-day incarnation of The Sydney Underground Film Festival is a weird, creative  and wonderful  tour de force running the gamut from the downright unclassifiable along with the staple horror film selection, outré music documentaries, Spaghetti Westerns, drug altered and blood-drenched masterpieces, comedies, workshops, short films, newly restored classics and parties. A melange that never not surprises.

2018 proved SUFF 2018’s status as an incubator with the display of the emissions of new films like 'The Wild Boys' (Bertrand Mandico), 'The Goose' (Mike Maryniuk), 'Madeline’s Madeline' (Josephine Decker) and 'Bugs' (by local Sydney-Based filmmaker Jack Moxey).

Along with a VR workshop, SUFF 2018 also was host to the inaugural InHuman Screens conference, which explored themes of technology and post humanism in films, featuring keynotes from Steven Shaviro, Sean Cubitt along with a host of others who considered the cultural, socio-economic and philosophical implications of future technologies.

Needless to say that the Australian premier of Nicholas Cage’s wild performance in Panos Cosmato’s Mandy was the cherry on top of a smorgasbord of eclectic events.

Given that the Sydney Underground Film Festival has constantly expanded over the last twelve years and the quality of its offerings in 2018, anyone remotely into movies would do themselves a favour by saving the date for 2019.