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.”
Under the influence: three artists on how Bruce Nauman continues to be an inspiration
Bruce Nauman's Clown Torture (1987). A four-channel video with sound (two projections, four mon..
Bruce Nauman's Clown Torture (1987). A four-channel video with sound (two projections, four monitors); approximately one-hour loop © Bruce Nauman / ARS, NY and DACS, London 2020, courtesy Sperone Westwater, New York
A cliché in gallery press releases about artists of a certain age is that they are “among the most influential artists working today”. Often it is nonsense. But when it is said of the US artist Bruce Nauman, few would dispute it.
This month, artists in London will have the chance to explore Naumans work in greater depth at Tate Modern, in his first UK retrospective for 20 years. These artists follow successive generations who have mined Naumans diverse practice anew. The 78-year-old has been influential ever since he was an art student. Mary Heilmann has acknowledged her debt to Naumans radical practice when he was still studying at the University of California, Davis, in the mid-1960s. And his effect has been consistent in the decades since. Artists as diverse as Mike Kelley and Isa Genzken, Jenny Holzer, Ragnar Kjartansson and a host of YBAs including Damien Hirst and Tracey Emin have acknowledged Naumans influence.
A still from Bruce Nauman's Walking in an Exaggerated Manner Around the Perimeter of a Square (1967-68) Courtesy of EAI, NY; © ARS, NY and DACS, London 2020
Key to that enduring fascination is a slipperiness: while Naumans works are unified by a consistent rigour and pared-down toughness, the forms they take—video, performance, neon, sculpture, sound—and the meanings they conjure, are myriad. That elusiveness keeps artists guessing and pondering Naumans work, seeking an equivalent richness in their own practice. Here, three artists describe his effect on them.
Adham Faramawy Courtesy of the artist
“I think the first Bruce Nauman piece I saw was the photograph Self Portrait as a Fountain (1966-67). I was about 14 and the piece opened me up to the idea that art can be funny, caustic and irreverent. And, along with early videos by Yayoi Kusama, Andy Warhol and Jack Smith, he informed the ways I approach performance for camera and the body as a subject. Naumans installation of video on TV monitors with pieces like Good Boy Bad Boy (1985)—along with work by Nam June Paik—excited me to explore the possibilities of moving image as a sculptural material where meaning can be confusing, sticky, slippery and unstable. These were works I loved as a teenager and they stuck with me through art school, becoming foundational to my approach to sculpture and moving image.”
Jacolby Satterwhite © James Emmerman
“Bruce Nauman was really amazing for me because he used objectivity around his body and his name as a measurement device—spelling his name, [casting] the negative space between the chair, [which] he set in concrete [A cast of the space under my chair (1965-68)]. His body was basically the centre point for the way that he mythologised space. Hes the nucleus for a certain kind of performance strategy that you see throughout art history. I loved the way that his body was a site for sculpture production. He really did allow me to understand that I could take my mothers drawings and trace them with my hand and make these digital landscapes and perform on the green screen. My body shows up in performance pieces in public and it also shows up in Read More – Source
Leeds Festival: Bad Boy Chiller Crew get Yorkshire bouncing
Bad Boy Chiller crew may have started out as a bit of a joke online but on Friday they provided some serious party vibes as Leeds Festival got under way.
Bradford’s notorious bassline collective got a sea of bucket hats bouncing with their infectious energy and hilarious stage presence.
The rap-dance collective brought their dads/friends onstage for a rave, while downing booze in between spitting bars.
But they were enjoying themselves for so long organisers pulled the plug.
Having overrun, the fun-loving outfit had their microphones, decks and music silenced, drawing boos from revellers as they stormed off to make room for a “No Leeds on a Dead Planet” public service video about environmental concerns around the event.
West Yorkshire Police later said they arrested two people following an incident on stage at Leeds Festival shortly after 16:00 BST on Friday.
The pair were subsequently bailed, pending further enquiries.
In recent years, the rap trio, comprised of Gareth “GK” Kelly, Kane Welsh and Sam “Clive” Robinson have have been not so quietly working their way up the bill at their home county festival, rapping over old school dance beats.
They’ve gone from starting in the BBC Music Introducing tent to one of the main stages, where they looked very at home, leading the crowd in a chorus of “oggy oggy oggy”s.
Dressed in their crispest white shirts and big red ties, the local rappers – who recently starred in their own ITV2 docu-series – raced through verses from their recent mixtape and debut album, including 450 and BMW, as well new track When It Rains, It Pours (thankfully it didn’t, as the clouds covered the Yorkshire sun for the first time on Friday).
They raced through beer, cider and vodka at an (alarmingly) equally rapid rate, as a family friend known affectionately as Kitchen Steve twirled a cane in a head-masterly fashion and Kelly’s dad Hopper, wearing a Burberry outfit, threw out some serious shapes and hip shakes.
One Twitter user commented: “Omg! Bad Boy Chiller Crew. What is this?! It’s like [Welsh act] Goldie Lookin Chain on speed. There is even a ‘Bez'”.
Robinson even appeared to have had an influence on, or at least reflect, some of the festival-goers’ fashion senses, with mullets adorning the heads of young men at Branham Park, for possibly the first time in decades.
Rap music from around the UK regions, not just the capital, has become more prominent on the bill here in recent years. “It’s tongue-in-cheek funny and unashamedly Yorkshire,” wrote the BBC’s Will Chalk about Bad Boy Chiller Crew – who recently launched a fans for foodbanks initiative – in an interview two years ago, when they were just starting their journey to where they are now.
Earlier on Friday, emo rocker Willow Smith, daughter of Will and Jada Pinkett Smith brought the first big singalong of the day as the crowds began to arrive in the searing heat, with one of the songs of last year, her viral hit Meet Me at the Spot.
She followed it up with a new one of her own, Hover Like a Goddess. “Every woman is a goddess,” she beamed, drawing loud cheers.
Bastille did an early set on Friday evening, having just released an extended version of their latest album Give Me the Future.
They told the BBC that performing at the double header Reading and Leeds Festivals 10 years ago in a smaller tent – and hearing one of their softer songs sung back to them with gusto – was the first time they thought they were really on to something as a band.
“We had to stop because I was it was so blown away, it just was just so overwhelming,” said singer and songwriter Dan Smith.
“That was kind of amazing moment, as particularly as back 10 years ago, Reading and Leeds was much more like rock and heavy music. So as a as a weird little cinematic indie band, and being the massive cynic that I am, I was like, ‘what’s the crowd gonna make of us?’
“So to have that first experience all those years ago was pretty surreal.”
The Leeds leg of the Bank Holiday weekender was officially opened on Thursday evening by up-and-coming Sunderland indie rocker Tom A Smith, who recently supported Sir Elton John. Afterwards he told the BBC it was “without doubt the best [gig] I’ve ever done”.
“We had mosh pits and people singing my songs back,” said Smith. “It was absolutely insane, what an experience.”
Reading and Leeds Festivals take place across two sites and will feature headline performances at each from artists including The 1975, Dave, Arctic Monkeys and Megan Thee Stallion.
Read from: https://www.bbc.com/news/entertainment-arts-62686220
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.
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.
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.
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.
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.
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.
… we have a small favour to ask. Millions are turning to the Guardian for open, independent, quality news every day, and readers in 180 countries around the world now support us financially.
We believe everyone deserves access to information that’s grounded in science and truth, and analysis rooted in authority and integrity. That’s why we made a different choice: to keep our reporting open for all readers, regardless of where they live or what they can afford to pay. This means more people can be better informed, united, and inspired to take meaningful action.
In these perilous times, a truth-seeking global news organisation like the Guardian is essential. We have no shareholders or billionaire owner, meaning our journalism is free from commercial and political influence – this makes us different. When it’s never been more important, our independence allows us to fearlessly investigate, challenge and expose those in power. Support the Guardian from as little as $1 – it only takes a minute. If you can, please consider supporting us with a regular amount each month. Thank you.
Hong Kong’s famous Tiananmen Square ‘Pillar of Shame’ statue removed from university
Australia4 years ago
Button and Diane Powellpark the school bus after three decades
Australia4 years ago
Button and Diane Powellpark the school bus after three decades
Europe2 years ago
Covid: Flights shut down as EU discusses UK virus threat
Europe2 years ago
Post-Brexit trade: Is red tape chaos just ‘teething trouble’ as the UK government argues?
Tech3 years ago
Search engine startup asks users to be the customer, not the product
Health2 years ago
Spain ‘to register’ those who refuse to have Covid-19 vaccine
Tech1 year ago
Sign up to The Independent’s free cryptocurrency expert panel event
Arts5 years ago
How a chain-link mosque at the Vancouver Biennale became a community hub