Arts Reviews

The good, bad and ugly in arts and exhbitions

French connection | 20 August 2015

Walter Sickert was fluid in both his art and his personality: changeable in style and technique, mutable in appearance — now dressing as a French fisherman, now as a dandy, next shaving his head — and even in name (for a while he styled himself Richard, not Walter, Sickert). All of which makes his long artistic association with the seaside resort of Dieppe apt in more ways than one. This is the theme of an excellent exhibition at Pallant House Gallery, Chichester. A century ago Dieppe was a very Sickertian place. In ancestry and artistic attitudes, Sickert was an exemplary cosmopolitan. His father was Danish-German; his mother the illegitimate daughter

Hills

As soon as you stop and rest you see more hills ahead, Great chains of hills to some improbable horizon. Will it always be like this? you ask yourself. Don’t let the hills tower over you, Don’t let their shadows creep before mid-afternoon And when they come, savour the blue. Enjoy the flatness of the land you’re on, lend it your weight And don’t look up too high; Ideally don’t lift your head at all, look straight. Remember, you are not being cowardly or slack, You have worked and now deserve to rest. Just think: no hills, no flat, Or, if you prefer, regard them as clouds, those hills, Great

Male order | 20 August 2015

Gemma Bovery is a modern-day refashioning of Gustave Flaubert’s literary masterpiece Madame Bovary, and while such refashionings can work well in some instances — Bridget Jones as Pride and Prejudice, for example, or West Side Story as Romeo and Juliet, if we want to go further back —this is not one of those instances. Instead, this is that other kind of instance; the one that desperately makes you wish they’d left well alone. It’s based on the graphic novel by the writer-artist Posy Simmonds which, in turn, was based on her comic strip in the Guardian. It was the same with Tamara Drewe, Simmonds’s reworking of Thomas Hardy’s FarFrom the

Stravinsky’s ingenious toy

Is Stravinsky’s The Rake’s Progress anything more than an exercise in style? ‘I will lace each aria into a tight corset,’ Stravinsky told Nicolas Nabokov, and for most of three acts that’s pretty much what he does, deftly fitting W.H. Auden and Chester Kallman’s libretto to a steadily chugging parade of his smartest, pertest neoclassical tricks. The motor-rhythms, the acid harmonies, the borrowings from Mozart, Rossini and Handel: it’s all brilliantly accomplished and supremely knowing. In small doses, it’s appetising enough, and even at full length there’s much to enjoy — especially when played with the relish that Sir Andrew Davis and the Scottish Chamber Orchestra brought to this concert

Lloyd Evans

Northern lights | 20 August 2015

In the clammy shadows of Cowgate I was leafleted by a chubby beauty wearing all-leather fetish gear. ‘Hi! Want to spend an hour with a prostitute for nothing?’ Yes, please. Her show The Coin-Operated Girl (Liquid Room Annexe, until 30 August), part of the free fringe, deals with the seven years she spent servicing sex-starved men in swish London hotels. One of the commonest fantasies was ‘GFE’, which has nothing to do with threesomes or gimp-masks. ‘The Girlfriend Experience’ means sex, kissing, cuddling, chatting, bickering and everything involved in a normal relationship. Her story is warm, hilarious and extremely refreshing because it reveals the sex trade as a good-natured branch

Summer listening

Just back from a few nights in Sweden to find the perfect programme on Radio 3. It was one of those interval shorts that are always such a nightly bonus during the Proms season. That 20-minute space between concert halves is the perfect length for listening. On Sunday night it was Kate Clanchy’s turn to fill in between Sibelius symphonies and what better topic than The Summer House (produced by Julian May), or rather the stuga, mokki, sommerhus or dacha beloved of Scandinavians and Russians, where Sibelius would retreat to write those symphonies redolent of dark woods and deep waters. Here the hassle and routine of city life are abandoned

Ai Weiwei

In September, the Royal Academy of Arts will present a solo exhibition of works by the Chinese artist Ai Weiwei. This follows his installation of porcelain sunflower seeds in Tate Modern’s Turbine Hall, a solo show at Blenheim Palace and two solo exhibitions at the Lisson Gallery (which represents him). Peculiarly, the Royal Academy’s press release claims that Ai’s work has not been seen extensively in Britain, which might suggest that its press team doesn’t get out much. He has certainly been exhibited here more than other key Chinese contemporary artists such as Zeng Fanzhi, Yang Fudong or Gu Wenda. Ai transcends the art world, particularly since his arrest by

Elysium

The best time is the summer time When cow parsley is high, And daylight hours of field flowers Are spread beneath a sky That drops upon them so much light And unseals blooms that closed with night. The best time is the summer time Till cow parsley is dry. And there is clover now And bees to take the yield. And it is over now And there are changes in the field. The best games are the summer games, The bowler rushing in. Though voices call and wickets fall To seamers or the spin, Men caught in the pavilion’s shade Can play the strokes they never played. The best games

I reshot Andy Warhol

It’s one thing to make the most boring film in cinema history — at least you can kid yourself at the outset that it might turn out differently. It’s quite another to lovingly recreate the same film half a century later, shot by eye-bleeding shot, but that’s exactly what I’ve been doing, I’m proud to say. I say shot by shot, but since Andy Warhol’s Empire consists of a single locked-off shot of the Empire State Building running to 8 hours 5 minutes in black-and-white yawn-o-vision, that’s not much to write home about. Nor is the rest of the movie, from almost any popcorn-munching perspective you can think of. With

Seeking closure | 13 August 2015

A while ago, David Hockney mused on a proposal to tax the works of art stored in artists’ studios. ‘You’d only have to say they weren’t finished, and you are the only one who could say if they were,’ he suggested. ‘There’d be nothing they could do.’ This is the state of affairs examined in Unfinished, a thought-provoking little exhibition at the Courtauld Gallery. Once upon a time, it was as clear whether a painter had completed a picture as it was whether the gardener had thoroughly mowed the lawn. Indisputably, Perino del Vaga downed tools for some reason halfway through his ‘Holy Family with Saint John the Baptist’ (1528–37).

Recombobulation

My fiancé has coined a word for Saturday recuperation which describes what much of the world does to allay its tension. From schoolchildren to the orthodox this is a time to reboot, rest, restore and relax, but none of these words quite suit in the way his term translates, acknowledging the week’s angst which the process encapsulates, as we purge the Sturm und Drang. I hear household gods dictate: ‘Thou shalt recombobulate

Words on war

It’s really hard to imagine now a world before 24-hour news, continually and constantly accessible in a never-ending stream of on-the-spot, up-to-the-minute reports. What, then, would it be like to have no news summaries on the quarter-hour, no ‘live’ bulletins, no way of knowing what’s going on at this very moment in Kathmandu, Kabul or Khartoum? In his new three-part series for the World Service, War and Words (Sundays), Jonathan Dimbleby looks back to the late 1920s, when the fledgling BBC was not allowed to broadcast any news item until it had first appeared in print. Newspapers reigned supreme when it came to reliable and up-to-date reportage. The Corporation had

Lloyd Evans

Edinburgh round-up

Propaganda is said to work best when based upon a grain of truth. Ukip! The Musical assumes that most electors are suspicious of the movement and its leaders. And in Edinburgh that may well be the case. The show portrays Nigel Farage as a bewildered twerp with no charisma and little talent for oratory. His first speech at an Essex shopping centre begins, ‘I am not a pretty nationalist, sorry, a petty nationalist.’ He then falls under the influence of a manipulative racist named Godfrey Bloom. I should point out that ‘Bloom’ in this piece refers to the character in the show, not to the retired politician. Bloom is first

Watching the clocks

When I saw the first performance of this production of Ravel’s two operas at Glyndebourne three years ago, I thought it was the nearest thing to operatic perfection I had witnessed. But this revival is even finer. Whereas I concluded last time that L’heure espagnole was fundamentally an old-time bore that goes on for far too long — only 50 minutes, but it seemed much longer — this time I found it absorbing from start to finish, though I still think it is no funnier than most of what used to be called dirty jokes. The decisive difference, I think, is the conducting of Robin Ticciati (or was it where

Afterthoughts

The blackness that sweeps along the stage behind Sylvie Guillem’s disappearing figure in the Russell Maliphant piece on her farewell tour is an astonishing moment. One flinches. An eclipse has happened and the light has just run away with her. All gone. Michael Hulls’s momentous lighting states Guillem’s intentions as clearly as Elias Benxon’s filmwork in the closing piece, Mats Ek’s Bye, which shows this singular performer quitting her elite world of imagemaking and humbly, nervously, going out to join the masses in the street. After lights out, she intends there to be no legacy. As I had hoped might happen, elements of Guillem’s closing show, unveiled at Sadler’s Wells

August

The weather is unseasonably cold, the flat’s floorboards cold. In the garden the courgette flowers but fails to fruit. The tomatoes hang green and heavy, like water bombs. Everywhere the boughs bend, the elder with its black beaded bunches, its little popping mice eyes. The crooked old pear across the street is having a stellar season, lit up like a winter tree with row upon row of olive green light bulbs. No one comes or the boughs are too high. In disgust it is chucking them on the road.

A Broken Appointment

I opened the envelope: it contained a ticket in my name from London St Pancras to Paris Nord, departing at 9.17 on the 12th of the 12th, a Friday; coach 3 seat 27, non-smoking; and another for returning the following day, at 13 minutes past two, in the afternoon – dans l’après- midi; and a postcard of Pierre Bonnard’s Le bol de lait, and there was just one word on the back — ‘Come’, followed by an ‘x’. Whenever I pour a dish of milk, or dwell on the loop in the ‘C’ of her flowing unfamiliar hand, I can’t help thinking — ‘Oh what a poem — what a

Life after death

This is not the biggest exhibition at Edinburgh and it will not be the best attended but it may be the most daring. While the main gallery at the Royal Scottish Academy, commandeered as usual for Festival season by the National Galleries of Scotland, hosts a glittering exhibition of David Bailey photographs, the lower galleries offer three small rooms of Jean-Etienne Liotard. Who? You may well ask, because for anyone not schooled at the Courtauld, Liotard is likely to be as obscure as Bailey is recognisable. Drawing the two together in the same building is less of a leap than it might appear, however, for Liotard was also an eminent