Arts Reviews

The good, bad and ugly in arts and exhbitions

Thursday

Stephen Bayley

Designer fatigue

Different concepts of luxury may be inferred from a comparison of the wedding feast of Charles Bovary and Emma Rouault with the habits of their contemporary the Duke of Wellington. At the Bovary wedding were served four sirloins, six chicken fricassées, stewed veal, three legs of mutton, four chitterlings (with sorrel), brandy, wine, foaming sweet cider, yellow custards, tarts and sweets with an architectural cake comprising angelica, oranges, nuts, jam and chocolate. The austere Duke’s ‘conception of duty’, David Piper wrote, ‘did not provoke popularity at all times’. His daily routine was tea with bread and butter in the morning, no lunch and an unvaryingly simple dinner of a joint

Katy Balls Katy Balls

Russell Brand’s The Emperor’s New Clothes reviewed: ‘uncomfortable viewing’

For the past year Russell Brand – who is worth an estimated £10 million – has been making a film about inequality. You may already know this. The comedian’s antics filming across the capital have regularly made the news. His attempt to storm RBS resulted in a temp angrily blogging that the palaver had caused his paella to go cold. Meanwhile, his visit to confront the Daily Mail proprietor Lord Rothermere about his non-dom tax status came to no avail as he wasn’t home. Not that such a small technicality has stopped the scene from being included in the final cut. Russell instead interrogates a woman over the telecom – a woman who I can only

Catherine Ormell

Sign of the Vulcan

She was considered the cleverest girl in the school, and deservedly so, and as such started the lower sixth with no trepidation, so who could not feel for her when she stretched back in her chair, casually, in a lesson-break on an autumnal afternoon, remarking, ‘Live long and prosper… that was Horace, right?’ There was a brief outbreak of disbelief then the boys’ eyes curled; they were on hand, forever after, chevaliers, free with the sign of the vulcan.

Jonathan Meades

Curators

As a purveyor of lairy souvenirs Venice outdoes even Lourdes. The scores of shops and booths that peddle this lagoonal kitsch are manned by graduates of hard-sell whose market-barker schtick does not need to include descriptions as their goods are self-explanatory. Every other year they coexist with a different sort of operation: the galleries, ateliers, showrooms and studios of the Biennale. And with them an ever-burgeoning cadre of soft-sell operatives, who compose the hieratic order of the curatocracy. There is no piece of approximate art or workshopped event that cannot be curated just as there is no foodstuff that cannot be sourced. At a recent ‘ideas festival’, I was enjoined

Kate Chisholm

Three cheers

The new controller of Radio Three, Alan Davey, was on Feedback this week (Radio Four) talking to listeners about his plans for the network. Roger Bolton, who presents, wondered if Davey was worried about ratings — Radio Three hovers around two million listeners compared with the 5.5 million boasted by its commercial rival Classic FM, or perhaps more alarmingly the two million lured to BBC upstart 6 Music. ‘Ratings aren’t a pressure for me,’ said an ebullient Davey, while admitting that he does want to find more listeners, and then to ensure they stay tuned. But how? Without going down the Classic FM route of more audience participation, more gimmicks,

James Walton

Target practice

Ever since the days of Tony Hancock, many of the best British sitcoms — from Dad’s Army to Fawlty Towers, Rising Damp to The Royle Family — have featured a middle-aged man convinced that he’s the only sane person left in an increasingly mad world. The frankly subversive twist in W1A (BBC2, Thursday) is that the middle-aged man in question might well be right. As the BBC’s Head of Values, Ian Fletcher (Hugh Bonneville) is surrounded by any number of jargon-spouting younger colleagues whose apparent aim is not to let anybody realise how stupid they are — or at least it would be if they realised it themselves. Head of

Lloyd Evans Lloyd Evans

Stage fright

The smash hit Matilda, based on a Roald Dahl story, has spawned a copycat effort, The Twits. Charm, sweetness and mystery aren’t Dahl’s strong points. He specialises in suburban grotesques who commit infantile barbarities. But his prose is sensational. No ‘style’ at all, just the simplicity and clarity of a master copywriter. He’s as good as Orwell. Mr and Mrs Twit are a pair of malignant outcasts who enjoy tormenting innocents. They keep a family of monkeys in a cage and they glue birds to trees and shoot them. You can read the story in about 20 minutes. It probably took Dahl a bit longer than that to write. And

Deborah Ross

Superheroic failure

Avengers: Age of Ultron is the second film in the Avengers franchise, as written and directed by Joss Whedon, and stars Robert Downey Jr as Tony Stark (Iron Man), Chris Evans as Captain America, Chris Hemsworth as Thor, Scarlett Johansson as Black Widow, Jeremy Renner as Hawkeye and Mark Ruffalo as Dr Bruce Banner, aka the Incredible Hulk, who probably had to be included, as no one would have wished to piss him off. (‘IF HULK NOT IN MOVIE HULK WILL THROW CAR!’) I am not among the target audience for this particular genre, but I attended with my son (22), which was useful, as I found it confusing —

Ismene Brown

Lethal weapon

The current talking-point at the Royal Ballet is the Russians milling around. One can sound unfortunately as if one’s starting a Ukip conversation here, but the Royal Ballet never used to be short of half a dozen home principals, any one of whom could be looked on as sufficiently glittery to attract the opening-night audience. Right now, though, the recent loss of a wonderful generation of artists — Cojocaru, Kobborg, Rojo, Benjamin, Polunin — has left the top rank rather thinned of true star quality, especially among the women. Hence the excitement at the recruiting to the Royal of Natalia Osipova from the Mikhailovsky and Bolshoi, Vadim Muntagirov from English

Geoff Brown

Off colour

Big slats of orange, burning yellows, an Adriatic in electric blue: I wish I’d bought my sunglasses to the Royal Opera’s latest revival of Il turco in Italia. Moshe Leiser and Patrice Caurier’s production of Rossini’s opera buffo first burst on to the Covent Garden stage in 2005, and its shrieking colours haven’t dimmed with the years. For good or bad, this is one show when you do actually come out whistling the sets (they’re by Christian Fenouillat). I was humming Agostino Cavalca’s costumes too, from gypsy confusion through bouncing fezzes to the absurd glitter of the climactic masked ball. The world created has little to do with Fellini’s black-and-white

Katrina Naomi

Talisman

She’s meant to be good with words, used to medicating others with a timely postcard — FABULOUS WOMAN YOU! Today she can’t find it in herself to buy, let alone send, A SISTER IS WORTH A THOUSAND FRIENDS. If only she knew the right phrase, the sort other people have stored in their mouths, like a kindly tongue.    Cards as commands, white and black shouts on a carousel, IT’S CHOCOLATE O’CLOCK The shopkeeper can’t find it in herself to say good morning, even in lower case, as she heaves her cleavage about by the till. Maybe these cards aren’t even meant for other people, just something to tack above your

Paul Deaton

Spring

The sparrows banter in the bushes that crowd the walls of the World’s End alleyway as I walk to the library. There is, it seems, much to catch up on. Winter was bitter cold; five months that had us by the throat, five months in our house that were bone lonely. April. And earth is touched by the hand of a new sun. A sun, from its stoked store, that wants to warm us, pulls at zips, unbuttons a thick-coated Saxon taciturn resistance. The releasing rays bring back lost leisure: walking back home, in the dry dust of my road, a black and white tabby reclines, eyes me disdainfully with

Connie Bensley

i.m. AMSTRAD

Dear Lord Sugar, it’s been a sad week. A kind of bereavement, really. Today, a council employee in a yellow jacket climbed down from his municipal truck and flung into it my old friend of — what? — twenty years? We never needed passwords between us. It never told me bad news about my server or jumped off the edge of the screen or tried to sell me corduroy trousers or ham or celebrity gossip. It was like a butler: discreet, self-effacing. But at last it began to suffer touches of dementia. Sometimes, I told the council man, things have to die quietly and be eviscerated for the common good.

Monday

Kate Telfer

Joyce DiDonato, the New York Philharmonic and Alan Gilbert at the Barbican reviewed: ‘seductive’

We ought to have discovered Esa-Pekka Salonen’s Nyx (2011) before now. The dense orchestration was dappled with soupçons of indigenous music, folk, noir, Harryhausen Hollywood and French impressionism. The New York Philharmonic poured it all molten gold and plummy red and let it radiate about the auditorium. The premiere seemed to begin without its lighting engineer. All sat there fully lit, orchestra pounding away until the first decrescendo a few minutes in when the house was finally dimmed. If deliberate, it was rather gimmicky. Conductor Alan Gilbert put in a measured performance throughout but fell short of expressing a dedication to the full trajectory of each work. He didn’t bathe in any

Steerpike Steerpike

Watch: Russell Brand trespasses on Lord Rothermere’s property

Earlier this year Mr S revealed that Russell Brand had made an unwelcome visit to the home of Lord Rothermere, the proprietor of the Daily Mail newspaper group, as part of filming for his new documentary The Emperor’s New Clothes. Now new footage has been made public ahead of the film’s release. In the clip he is shown turning up at Lord Rothermere’s home only to find that he is not in. Brand then jumps the fence, climbs scaffolding and puts a poster on the property criticising Lord Rothermere’s non-dom status. Of course, if Ed Miliband wins the election Lord Rothermere’s non-domicile tax status could cease to exist. Not that the comedian will be bothering to

Friday

Rupert Myers

The trailer for the new Star Wars film suggests it could be the best yet

If the Fast & Furious team made Casablanca 2 (‘Morocco Drift’) it would be a more artistically credible, better acted, and more entertaining movie than Star Wars: Episode I – The Phantom Menace. Vin Diesel’s Victor Laszlo may have gained an impressive set of guns fighting for the Czech resistance since we last saw him – shame, too, about the hair loss – but at least he wouldn’t spend even one second of the film talking about ‘midi-chlorians’. In his decision to revisit the Star Wars universe and create a trilogy of prequels, George Lucas looked upon the epic vista of his cinematic triumph and decided to open-cast strip mine

Thursday

Stephen Bayley

Cathedrals on wheels

Imagine for a moment Harley Earl, head of design at General Motors, Detroit’s wizard of kitsch. Standing before him, in his studio, is the cetacean bulk, nipple-coloured pink paint, churrigueresque chrome ornaments and rocket-ship details of his 1959 Cadillac Eldorado Brougham Seville Convertible. He is talking to his acolytes, as attentive as Rubens’ studio assistants in Antwerp 300 years earlier. Earl is describing his stylist’s art, the astonishing formal achievement of the pink Caddy. He says, pointing perhaps to a tail fin: ‘I want that line to have a duflunky, to come across, have a little hook in it, and then do a rashoom or a zong.’ Our language lacks

Lara Prendergast Lara Prendergast

Sonia alone

In 1978, shortly before she died, the artist Sonia Delaunay was asked in an interview whether she considered herself a feminist. ‘No! I despise the word!’ she replied. ‘I never thought of myself as a woman in any conscious way. I’m an artist.’ It is pretty obvious, though, that the Sonia Delaunay retrospective at Tate Modern (which has come from the Musée d’Art Moderne de la Ville de Paris) has been organised if not explicitly by feminists, then at least with feminism in mind. You can see the thinking behind it: let’s give the wives of the artists a break. And Mrs Delaunay, whose work has traditionally been discussed in

Jack Wakefield

Boris’s London legacy

Overseeing Boris Johnson’s futuristic office, with its spectacular view of the increasingly culinary skyscape of the City of London with its Gherkins and Cheesegraters, is a bust of Pericles, distinctive in his helmet. It is no surprise that the Mayor should hold himself up to the gaze of the Athenian general and politician because he instituted the greatest programme of public works in the ancient world in Athens in the middle of the 5th century bc. Since Boris was elected Mayor in 2008 there has been an enormous amount of development in London. The demand that fuels growth is ever present. The south bank of the Thames is bristling with

Ismene Brown

Why is British dance training so poor? ‘Diversity’ is trumping quality

A very British thing happened at the dance industry conference last weekend. Three of the UK’s most celebrated contemporary choreographers said British contemporary dance training is not up to snuff. Foreign dancers were better trained from a younger age, they said, were fitter, readier, worked harder. That’s why they got more jobs in British companies than UK-trained graduates. The two instant results were (a) a chorus of outraged denial from the dance establishment and (b) the resignation of the chairman of Dance UK, the umbrella body and ‘voice of dance’, which staged the conference. Now, its chairman, Farooq Chaudhry, was certainly playing some fairly brutal politics. He is the producer