So, in the midst of the new blog plan, I ended up with a job at the Royal Academy of Arts (dream come true!) and of course had zero time to spare!
Now I’ve got a stack of new content made up, which I’ll start uploading, dividing into categories, all of that boring stuff as soon as…
In the meantime, here are a couple of excerpts from my most recent work with Aesthetica who are kind enough to send me off to a show and a screening for every edition (and also a recent press trip to Madrid – journalist perks eh!)
First the Design Museum hosts the first major retrospective of Louis Kahn’s work for twenty years Louis Kahn: The Power of Architecture. One of the twentieth century’s most eminent building designers, Kahn was a Modernist pioneer, an inventor and professor, and as much an artist as an architect – although very few of his projects were ever realised.
Initially presented by the Vitra Design Museum, this exhibition will stand as an archive of the designer’s life as much as a survey of his work – encompassing an unprecedented number of original sketches, paintings and photographs from Kahn’s many travels, and previously unpublished film footage shot by his son for intimate documentary My Architect.
Secondly there’s Mood Indigo, visionary director Michel Gondry’s vibrant, surreal and lunatic adaptation of French polymath Boris Vian’s L’écume des jours (Froth on the Daydream): the fatalistic tale of Colin (Romain Duris), a handsome and wealthy romantic who spends his time inventing bizarre contraptions such as the ‘pianocktail’, and Chloé (Audrey Tautou) who according to the actress is “the embodiment of kindliness, purity and delicacy.”
What begins as an idealistic and poetic love story rapidly transforms – through a series of entirely illogical events – into a breath-takingly poignant Greek tragedy; the film’s climax keeping myself and entire fellow audience set in our seats until the credits turned to black.
As is characteristic of Gondry’s entire filmography, the visual universe of Mood Indigo appears as an animated Surrealist painting -part-set, part-art installation, only one week’s worth of blue screen – in all, it is an endlessly varied feast of tricks and surprises, which stands between conventional cinema and the arts.