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‘A trippy tale of hallucinogens and human sacrifice’: Peru: A Journey in Time – Review | Art



j99news– Llike a llama chewing his dribble, Peru begins calmly: there is an exhibition of pots. You may be forgiven for feeling a little overwhelmed. But the calm, steady pace and cool layout of this exhibit provide essential grounding as you try to get your head around 2,000 years of ritual warfare, human sacrifice, and first-class hallucinogens.

This is not really an exhibition about Peru, the modern country, but the civilizations of the Andes that long preceded its existence. It traces the cultures of this mountain region from antiquity up to 1534, when Francisco Pizarro and a group of Spanish conquistadors defeated the Inca Empire. The ancient Peruvian people, from the Chavín culture, dating back to around 800 BC. through the great art of Nasca and Moche art to the emergence of the Incas, is presented clearly. Once you get used to all the clay and the incredibly preserved textiles, you are in a lost world of addictive acting and mystery.

Lots of people have lost their heads over ancient Peru. I first read about the Nasca Lines, giant ground drawings up to 2 km across the desert plain between the Andes Mountains and the Pacific Ocean when I was a child. Unfortunately, my source was Erich Von Däniken’s book Freight Wagons? who claimed they were UFO landing strips. So the Nasca got alien help? No. However, they used a lot of drugs.

A gripping exhibition of Nasca art at the heart of this show proves that these giant images of animals are far from a random cosmic mystery, the pinnacle of an amazing visual culture. One of the most beautiful geoglyphs portrays a stylized hummingbird with thin elongated shafts representing feathers: In front of a drone video of it is a 2,000-year-old textile embroidered with the same hummingbird designs. You could not have clearer evidence that the Nasca lines are rooted in human culture, not extraterrestrial activity.

When the Nasca people made their enormous art, the Roman Empire rose and fell. But there was no connection between people in America and Europe, Asia or Africa. The civilizations we meet here rose and fell to their own beat. There are clay pipes here made by Nasca – but they were not for entertainment. A painted vase depicts a shaman in a monstrous mask and a snake-like headdress – or does he have real snakes on his head? – holds his forehead pipes among an assembly of fellow musicians while he goes into a trance and communicates with animal spirits. Next to him is a San Pedro cactus whose hallucinogenic flesh he has ingested to open the doors of perception.

Maybe Nasca went out into the desert high on cacti to draw their totem animals. Even the rock, they had an amazing eye for nature. Killer whales, monkeys, snakes and cats are depicted with sharp, strong lines and colors. A vase takes the form of a tall, wavy corn stalk, the agricultural crop that sustained civilization in the Andes.

What does the word “civilization” mean? Technically just a society with cities, agriculture and an organized culture. But we fill it with moral values. The civilizations of pre-colonial America combined urban ambition with beliefs where human blood was essential to keep the universe in balance. The reality of human sacrifices hits you in front of one of the most incredible artifacts here, an embroidered cloth to wrap a dead body in, made by Nasca around the time of Christ. It is covered with happy dancing figures in animal masks, each of which dangles a severed head in the hair.

Nasca shared these sacrificial beliefs with the Moche culture, which flourished in northern Peru from about 100 to 800 AD. Warriors participated in ritualized battles – but the aftermath was not friendly. Moche sculptures portray the defeated, bound to await sacrifice. Their faces are studied with tragic precision. A bound prisoner on a model boat retains his dignity as the threatening god of death rowes him to the place of sacrifice. He throws his body back as in acceptance.

This exhibition takes you outside of yourself, if you let it, into a world of predatory gods and magical music. The most amazing object is a giant clay drum, from the Nasca civilization, painted with images of ritual war and sacrifice. Defeated, gnawing gods hold the heads of the defeated. Monkey-like zombies hang in the trees. Trophy heads are transformed into the spirits of ancestors. The scene is held together by twisting shapes that are half snake, half cactus. It’s like a manic masterpiece of street art.

Even when they were not consuming psychedelic cacti, these ancient people regularly chewed coca leaves. Imagery on pots shows how lime was mixed with coca to amplify its effect by specialized coca officials – whose bureaucratic job title shows how complex these societies were.

The last native rulers of the Andes, the Incas, built a network of roads with runners stationed at intervals to carry messages and gifts: a clay model of a muscular leg celebrating their running power. The Incas took power late, as it turned out, in the history of pre-colonial America. Originating around Cusco, their capital, from the early 15th century they conquered a large area that spread to modern-day Ecuador, Colombia, Bolivia and Chile, as well as Peru. The exhibition shows how they used elaborate knotted strings to record crucial information. And a ceramic model of a hoe documents their agricultural revolution, where they terraced the Andes to grow corn at ever-higher altitudes.

They also had coca. An embroidered incapose still has fragments of centuries-old coca leaves inside. They also refined the art of sacrificing people. Selected children were taken to high mountain reserves to be killed. They were buried with small doll-like figures. The doll-sized clothes from the graves of these victims are in sight.

What would have happened in the Andes now? A film by the legendary Inca city Machu Picchu dwells on astonishing details in its architecture and technique. Even the conquistadors admitted that the cities they saw competed with those of Europe. If the Spaniards had never arrived, it is entirely possible to imagine the Inca Empire advancing technologically and moving towards a different version of a modern world.

In fact, this show downplays the Incas because it wants us to discover the people who came before them. What amazes in the art of Nasca and Moche is a combination of factual probability with amazing and shocking content, dry clay and wet veil. Peru is a lime-sharp cocktail of the real and visionary.



On my radar: Moses Sumney’s cultural highlights



theguardian– Singer-songwriter Moses Sumney, 29, grew up between Ghana and California and studied creative writing and poetry at UCLA. His piercing falsetto and genre-defying music have brought him critical acclaim, starting with his self-recorded 2014 EP Mid-City Island, followed in 2017 by his debut album, Aromanticism, and the 2020 double album Græ. Sumney has collaborated with musicians including Bon Iver and James Blake and toured with Solange and Sufjan Stevens. His latest project is Blackalachia, a self-directed concert film created in association with WePresent, shot over two days in the Blue Ridge Mountains of western North Carolina, where he lives.

1. TV

Selling Sunset (Netflix)

I pity anyone who hasn’t seen this show. It’s a reality show about a real estate agency in west Hollywood, and it follows the lives and deals of the people who work there, predominantly the female staff who are all ridiculously Barbie-ish – essentially “career Barbie on crack”. It’s incredible. I love reality TV – it tells us a lot about humanity. Reality shows are always inherently dated, so they’re a great capsule of the modern era.

2. Music

Don’t Be So Hard On Your Own Beauty by Yeule

I don’t know what it is about this song, but I’m addicted to it. Yeule is a Singaporean artist based in London who’s kind of new on the scene, and this song is just so hypnotising – it hints and winks at hyperpop while being an absolutely heart-shattering folk tune. It’s a beautiful amalgamation of a lot of different genres, and it’s stunning. I have a lot of playlists – for driving, for chilling at night, a morning playlist, a folk playlist – and this is in all of them.

3. Book

How to Do Nothing by Jenny Odell

I’m currently reading this – I put off reading it because it looks like a self-help book – but it’s really fascinating. The author is an artist who works largely in digital art and the book is about how to free yourself from the capitalist trappings of the workforce – not necessarily saying “quit your job”, but suggesting a new path for work. It asks the question: how can we construct our identities apart from defining ourselves by what we do and by our income? It’s a very radical book, and it’s often a hard read. But it has been mind-shifting.

4. Place

Western North Carolina

I’ve been travelling a lot for work, so I’ve been thinking about how much I would prefer to spend my time in western North Carolina, particularly in the mountains, where I live. I think it’s the most beautiful place in the world. I first arrived in Asheville when I was on tour and knew immediately I wanted to live here. You turn around, 360 degrees in any direction, and you’re surrounded by trees, by the sound of animals, and that’s really a rare feeling for anyone who’s spent most of their life, as I have, living in the city.

5. Film

Eve’s Bayou (Kasi Lemmons, 1997)

This stars a young Jurnee Smollett, who recently had a resurgence with Lovecraft Country. She’s 10 years old in the film, which is set in a fictional small town in Louisiana. Samuel L Jackson stars as the patriarch of the family, who is maybe cheating on his wife, his daughter sets out to kill him and punish him, perhaps through witchcraft. It was incredibly critically acclaimed and subsequently snubbed by every major award ceremony. It’s a gorgeous, heartbreaking film. I first saw it last year and I think about it every day.

6. Fashion


The couture line that Balenciaga launched this summer is another thing that has permanent residency in my brain. I think that what Demna [Gvasalia, creative director] is doing with sculpture and architecture through fashion is some of the most interesting theatre of our time. It’s like a marriage of Romantic and gothic style – it’s a bit ecclesiastical, almost monastic, and I want it all. There’s this really wonderful circular headpiece that feels like: “I’m going to service, but in the year 3021.”

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Hong Kong’s famous Tiananmen Square ‘Pillar of Shame’ statue removed from university



cnn– For more than 20 years the “Pillar of Shame” sculpture stood as a memorial to the victims of the 1989 Tiananmen Square massacre, in which the Chinese military crushed protests led by college students in Beijing with deadly force.
Atop a podium in the University of Hong Kong’s (HKU) campus, the 26-foot-tall (8 meter) statue of contorted human torsos was one of the last iconic memorials to victims of the bloody crackdown remaining on Hong Kong soil.
But around midnight on Thursday, yellow construction barriers were erected around the statue and the sounds of cracking and demolition were heard as the sculpture was removed under the cover of darkness.
Images taken during the removal process show workers wrapping the statue in protective film and lifting it out of the campus on a crane in two distinct parts. The HKU Council, the university’s governing body, said in a statement the sculpture will be held in storage.
A witness said Thursday morning the site of the sculpture is now empty and students have been seen crying on campus following the removal. CNN agreed to not disclose the name of this witness because the person feared retribution from authorities.
That fear of retribution is common among those who speak out against authorities in Hong Kong since Beijing imposed the National Security Law on the city in 2020, punishing offenses such as subversion and secession with sentencesof up to life in prison.
The HKU Council said in a statement the removal “was based on external legal advice and risk assessment for the best interest of the university.”
The sculpture, which stood in the Haking Wong Building of the university, was part of a series of works by Danish artist Jens Galschiøt created in 1997 — the year Hong Kong was returned to China after more than 150 years of British rule. The sculpture includes the inscription: “The old cannot kill the young forever,” and was built to serve “as a warning and a reminder to people of a shameful event which must never reoccur,” according to the description on Galschiøt’s website.
Galschiøt called the statue’s removal “a very hard attack against the free word in the world.”
He told CNN that he hopes to bring the statue back to Denmark so he can reassemble it. His wish is to then bring it to Washington D.C., where he hopes to place it in front of the Chinese Embassy. There, it will serve as a message to Beijing that the massacre is remembered and spoken about, he said.
For three decades, Hong Kong has been the only place on Chinese-controlled soil where an annual mass vigil has been held to mark the events in and around Tiananmen Square on June 4, 1989.
The clampdown remains one of the most tightly censored topics in mainland China, with discussions of it scrubbed from mass media. Chinese authorities have not released an official death toll, but estimates range
from several hundred to thousands.
After the 1997 handover, the continuation of the vigil and similar memorials were seen as a litmus test for Hong Kong’s ongoing autonomy and democratic freedoms, as promised in its de facto constitution.
However, in the wake of national security law, scores of prominent pro-democracy politicians and activists have been jailed or fled the city, and numerous civil society groups have disbanded.
Attempts to commemorate the events of June 4 have also been adversely impacted.
The last two Tiananmen vigils have been banned by police, citing coronavirus restrictions. Prominent activists, including Joshua Wong and media tycoon Jimmy Lai, were later jailed for participating in an unauthorized public commemoration in 2020.
A Hong Kong museum dedicated to the victims of June 4 was forced to close earlier this year and moved its entire collection online citing “political oppression.”
And on Friday, two more Tiananmen Square crackdown memorials were also removed from Hong Kong campuses.
The Chinese University of Hong Kong took down a “Goddess of Democracy” statue, stating it never authorized the display in the first place. The original figure was built out of papier-mâché by student protesters at Tiananmen Square in May 1989. A bronze replica was created by China-born New Zealand artist Chen Weiming and brought to the CUHK campus in 2010.
Lingnan University similarly removed a relief by the same artist, saying it “may pose legal and safety risks to the University community.”
Following news that the HKU “Pillar of Shame” sculpture was being dismantled, the artist Galschiøt wrote on his Twitter account, “I’m totally shocked that Hong Kong University is currently destroying the pillar of shame. It is completely unreasonable and a self-immolation against private property in Hong Kong.”
“We encourage everyone to go out to Hong Kong University and document everything that happens with the sculpture,” he added in a statement.
In its statement, HKU Council said, “No party has ever obtained any approval from the University to display the statue on campus, and the University has the right to take appropriate actions to handle it at any time.”
It added the university “is also very concerned about the potential safety issues resulting from the fragile statue. Latest legal advice given to the University cautioned that the continued display of the statue would pose legal risks to the University based on the Crimes Ordinance enacted under the Hong Kong colonial government.”
Efforts to preserve the memory of the sculpture are already underway, with art-activist group Lady Liberty Hong Kong creating a 3-D model made using more than 900 photos.
“The idea is that everyone can print a copy it and place it wherever they want,” said Alex Lee, the founder of the group. “In the digital age, there’s no limitation of what you can do with virtual or physical objects — (the hope is) for everyone to try to preserve this symbol.”
According to Lee, the statue represented something of the fundamental difference between Hong Kong and mainland China. “It (the statue) symbolized that Hong Kong still has room for the freedom of speech and it really means that Hong Kong is still a different part from China,” said Lee. “But then I think right now, that last really small space is gone.”
On Sunday, Hong Kong’s first “China patriots only” legislative election witnessed a record low turnout, reflecting a steep decline in civic and political engagement following Beijing’s overhaul of the city’s electoral processes earlier this year.
Following the vote, Hong Kong Chief Executive Carrie Lam traveled to Beijing and met with Chinese Leader Xi Jinping, who endorsed her administration and praised her for moving the city “from chaos to order,” according to a government statement of the meeting.
Calling the election — in which turnout was just 30.2% — a “success” Xi said the city had “made solid progress in promoting democratic development that suits Hong Kong’s reality.”
“The democratic right of Hong Kong compatriots has been shown,” Xi said.
A number of Hong Kong activists who fled abroad labeled the election — in which prospective candidates were first screened by the government — as a “sham,” a criticism echoed by many rights groups and international observers.
Top image: Workers remove part of the “Pillar of Shame” into a container at the University of Hong Kong on December 23, 2021.

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Il Divo singer Carlos Marin dies aged 53



bbc– Il Divo’s Carlos Marin has died aged 53, the classical group has announced.

Marin would be “missed by his friends, family and fans”, a statement on social media said. “There will never be another voice or spirit like Carlos.”

The group had said they were praying for Marin’s recovery after he was admitted to hospital this month leading them to postpone a UK Christmas tour.

The male quartet was brought together by Simon Cowell in 2003 and achieved three UK number one albums.

Marin was born in Germany, but moved to Spain at the age of 12 and was a baritone in the group, performing alongside tenors Urs Buhler and David Miller, and pop singer Sebastien Izambard.

“Singing is my way of saying what I feel, my way of life,” he is quoted as saying on the group’s website.

“Singing is what makes me feel alive, so thank you for letting me continue making a living from what I love.”

Spanish newspaper El Pais reported Marin had been taken ill during the UK tour and placed into an induced coma at a hospital in Manchester. The nature of his illness has not been disclosed.

Il Divo’s international composition helped them achieve notable success across several worldwide tours.

Their hits included Regresa a Mi (Unbreak My Heart), The Time Of Our Lives, and I Believe In You – a duet with Celine Dion – as well as a version of Adele’s Hello.

They sold more than 30 million records, and had 160 gold and platinum discs across more than 33 countries, the group’s website said.

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