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reflective-blog-ablearmonthughes · 2 years ago

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Sammulung Boros Gallery-Berlin

My mum and I had arrived for a last-minute sightseeing trip around Berlin intent on visiting as many art galleries as we can cram in to the three days we are there. The one I was looking forward more than any is the most obscure -a guided tour around a modern art gallery I’ve never even heard of before which came highly recommended by a family friend who luckily for us happened to be a professor of art conservation in Berlin.

The tickets were really hard to get hold of (you usually have to book months in advance) but we had a stroke of luck and managed to get our names down for an evening viewing. I had read about this contemporary exhibition for a while, so I could not contain my excitement!

On route we passed the crowds heading off to the sparkly Christmas Markets and instead head off through the Tiergarten and past the Brandenburg Gate towards our destination on Reinhardtstrasse in Berlin’s Mitte district: the Sammlung Boros, the Boros Foundation art gallery.

Who had ever even heard of it ? Not me!

We arrived at Berlins Mitte district: the Sammlung Boros, and approach the Boros Foundation art gallery. This monumental grey block of a building had tiny narrow slits for windows, faceless, and rather forbidding. An intimate group of us waited outside, waiting for the tiniest most unimpressive door to be opened. No imposing steps up to a grand entrance and portico here!! Considering it was such a tricky gallery to book a viewing for, it was just not what we were expecting. Can this plain looking place actually be an art gallery? When we get inside, everywhere is drab grey cast concrete space. Very emotionless, but we stayed optimistic about the unique art we were about to see. With industrial style lighting and walls at least two metres thick-no phone signals and no outside noises from the city at all - the space felt massively utilitarian, completely isolated and shut off from the outside world and, to be honest, pretty oppressive.

Our tour guides explained that the owners were Christian and Karen Boros who had such a successful advertising agency, they became wealthy enough to literally indulge their obviously insatiable appetite for acquiring and displaying contemporary art from the 1990’s to the present day. The building was a culmination of all their efforts.

Acquired by them in the early 2000’s this was originally a huge former World War II bunker constructed on the orders of Hitler around 1943 to offer people shelter from the bombing and post-war used as a fruit warehouse and then…A NIGHTCLUB!? This contrast certainly sparked our interest about the gallery. It was so hard to imagine the space sheltered thousands of terrified cowering citizens or reverberating to the sound of Techno music, having been transformed from a warren of 120 small rooms under the direction of Jens Caspar - the same architect that created London’s White Cube Gallery for Jay Jopling - into 80 large gallery areas. This space had delivered 30,000 feet of contemporary art space spread over 5 floors that now houses the Boros’s ever-changing, eclectic collection of sculpture, photography, painting and installations, topped by the private penthouse apartment of the Boros family.

I was amazed by the gritty industrial context of the space, just a perfect backdrop for displaying their extraordinary collection. The contrast between the World War II bunker signage and the old nightclub graffiti which had been left on the walls and the stark modern pieces on display was so striking. We were led along low-ceilinged corridors and stairs which opened suddenly into huge spaces that homed brightly coloured paintings and sculptures. I particularly loved the sculpture ‘Untitled’ by the Chinese conceptual artist He Xiangyu. Here laid out apparently randomly in an empty room were twenty four 18 carat gold egg boxes glittering against the dirty grey floor, an amazing visual metaphor for useless consumerism and empty materialism of 21st century society.

I loved the sheer novelty of it all and was like no other gallery I had ever visited. We paused to engage in interactive works printing our own woodcuts in a room alongside Brazilian artist Paulo Nazareth’s framed woodcuts of kitchen knives. We strolled across suspended walkways and gazed down over sculptures below. Then, we stood at doorways and peered into spaces taken over by the artwork within.

The layout of the immense space was completely disorientating. I felt like Alice in Wonderland heading deeper and deeper down the rabbit hole of the Boros Foundation’s collection, around each corner being met by a piece even more random and surprising than the last.

We viewed Katja Novitskova’s conceptual installation of a huge larger than life size cut-out albino stallion staring down at a twisty red arrow springing off a small trampoline apparently representing the expansion of our technological age at the expense of other species. This was a perfect example of there being more than what meets the eye, which I found very enlightening and thought provoking

There was an enormous concrete eagle head by Justin Matherly standing like some huge inscrutable sphinx, which reminded me of an Easter Island head sculpture, randomly placed in the middle of an empty room.

Around the corner we see Paulo Nazareth’s embroidered white Muslim robe hanging in solitary isolation inside a blank white space……The sense of the art taking over the space is complete.

The meaning behind much of it was slightly beyond me. But it didn’t matter because the uniqueness of it all in such an amazing setting was so exciting and fresh. The building and the artworks were so juxtaposed, it certainly made it memorable. Plus, (encouragingly!) Christian Boros had said himself that much of what he collected even he didn’t understand….so there is hope for us all!

And being invited to stick black tape to the bunker’s concrete walls alongside Johannes Wohnseifer’s art installation ‘Black Tape’ did ultimately beg the question: When exactly do you cross that subjective line between defacing a wall and embellishing it, and who decides what makes it contemporary? It was precisely this, us all leaving slightly confused, that makes this a prime example of the effect contemporary art can have on us. It allows us to perceive the work however we feel it provoked us. It was just fascinating learning about the galleries history, and being the backdrop to such unusual modern artwork.

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whothef0ckisalice-hons · 2 years ago

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Clay Ketter

Clay Ketter's creations are inspired by constructed settings and draws on the skills of his previous occupations (carpentry and building) to investigate the intersections of architecture, sculpture, and painting.

I can relate to Kettler's work since I get inspiration from the built environment as well. Not a physical structure, but the structure around that environment structure, which is confined to how things are manufactured at my workplace.

For Clay Ketter, the world is a carefully crafted construction.

Art provides the means for him to investigate this construction and make it perceptible to the viewers’ senses. “The surface is not magical, it’s not a projection. The surface is constructed out of layers upon layers upon layers,” Ketter explained in connection with his 2009 exhibition at Moderna Museet in Stockholm. We build our surrounds, roads, and fences, and we establish standards for the design of our houses, infrastructure, and all other parts of our lives. Ketter's works frequently include these structures and their creative reproductions.

Readings (Find edited PDF on desktop) Clay Ketter, "Labors of love. Love’s labors lost" Bruce Fergusson Sonnabend Gallery, New York Jay Jopling / White Cube, London Galleri Andreas Brändström, Stockholm ISBN: 91-87952-22-X 2000

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thewillmag · 2 years ago

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pear-pies · 3 years ago

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The 100 Most Important People in the World 1997 [100-64]

Select magazine / December 1997

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duncaninla · 6 years ago

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Margate

Another morning at the hospital. Another biopsy on another lump. I’m quite sweaty today. My arms hurt. The arthritis in my neck makes my arms painful, numb and tingling. The pain increases when I cough, sneeze or strain.

After the consultant I drove to Margate where I met Jonathan Viner who has famously bought the huge Margate Print Works, partially selling to Tracey Emin and others. We ate…

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#David Liddicote #Jay Jopling #Jonathan Viner #Margate #Maron Glace #Sam Causer #Tracey Emin #Whitstable Biennale

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wellthatwasaletdown · 3 years ago

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““A publicist can literally call and say, ‘Hey there, I have Client Jane Doe dining at Hot Spot and she will be with John Doe and she is wearing Designer X. They will exit the restaurant together around this time. Can you help?’ - “She’ll be at the parking ramp exit of the Target in Westlake at 11am in a black LalIgne sundress, she’s with her assistant. She’ll have a White Cube tote because her boyfriend fancies himself an art collector and he knows Jay Jopling.”

*snort*

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ohmygoulding · 4 years ago

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Ellie Goulding for You Magazine

‘Brightest Blue’ is out tomorrow! Listen here!

‘I was happy being single and then… dammit!’ Ellie Goulding comes clean about finding love – the one time she wasn’t looking for it

Pop superstar Ellie Goulding speaks for the first time about the relationship that took her by surprise and why her husband is the one man she won’t write a song about.

Ellie Goulding is surrounded by boxes. A lot of them. She describes it as ‘a warehouse amount’ because her record company has just sent her ‘not joking – about 20,000’ bits of merchandise to sign to promote her new album.

The problem is, she’s currently spending lockdown in a cottage in Oxfordshire with cat Wallace and her husband Caspar Jopling, who was studying for his MBA at Oxford University’s Saïd Business School until the global pandemic ensured all the courses went online only. The cottage is too small to contain all the boxes, so Ellie is in the process of returning them to the record label, who will then send them back to her in more manageable batches.‘I mean, I’m going to be getting, like, what’s it called?’Repetitive strain injury?‘Yeah!’These are the occupational hazards of being a globally successful pop star in lockdown; the woman behind a dazzling array of hit songs including ‘Starry Eyed’, ‘Love Me Like You Do’ and a cover of Elton John’s ‘Your Song’, which she sang at the Duke and Duchess of Cambridge’s wedding reception.Today, when we meet over Zoom, things are more low-key. Ellie, 33, is wearing an oversized hoodie, her hands wrapped around a giant mug of green tea. But like all the best off-duty stars, she is still undeniably glamorous with her long blonde hair, bee-stung lips and the cat-like brown eyes that make her look like a gorgeous female version of Elvis Presley.

Her keenly anticipated fourth album, Brightest Blue, is about to be released, a month later than originally scheduled because of Covid-19. Releasing it in these conditions is ‘bittersweet’. On the one hand, she wants to be able to get out there and ‘show the world this album that I’m very proud of’. On the other, she acknowledges that ‘it’s not so bad being at home. Sitting having some tea. Chatting on Zoom.’

Brightest Blue is her first album after a five-year gap, during which she met her now husband, the Eton and Harvard-educated son of an aristocratic Yorkshire landowner and the nephew of art dealer Jay Jopling. The couple got married at a star-studded wedding at York Minster last August, attended by everyone from the Duchess of York Sarah Ferguson to the actress Sienna Miller and singer Katy Perry.

There are no songs on the new album about Caspar, partly because, Ellie says, the first year of marriage has been ‘love hearts and butterflies and bliss… It just hasn’t struck me as something that I want to focus my writing on.’ And it is true that many of the tracks on Brightest Blue seem to have sprung from darker places of inspiration: ‘Power’ is about a woman disillusioned by the lies and embellishments of dating in an age of social media; ‘Hate Me’ delves into the angry desire to erase an ex from your life.

‘I may analyse [my marriage] at some point,’ she says. ‘But no, it was one of those things where it was a different level of sacredness. I write about [past] relationships – and still do – and it doesn’t bother Caspar whatsoever, but I explore these things because they’re valid, and they happened in my life and they’re things that made me who I am. So I think it would be wrong to get married and then think that you have to completely close your past away. He accepts that.’

The pair met in 2016 after they were seated next to each other at a dinner arranged by their mutual friend, Princess Eugenie. At the time, Ellie was determinedly single and enjoying her independence after years of what she describes as ‘serial monogamy’. She had taken a break from the relentless pace of the music industry and was stepping back from the pressures of fame and from the exhausting public act of Being Ellie Goulding.

‘I think a common misconception with me, and maybe with other performers, too, is that we’re confident and that we’re super “out there”,’ she says. ‘But it is terrifying for me to go into a group of people and I think that’s always been the case. When I look back at even being at school and college I am just a shy person. I don’t have a huge amount of confidence.

‘It is funny seeing myself on stage – when I have to watch myself back – you know, how I sort of take on this confident role as a performer. But as soon as I’m off stage, that’s gone again. I didn’t attend a single afterparty on my tour. And they were every night. I didn’t go to a single one. Too shy.’

Despite this shyness, Ellie has had to become used to her every move being closely scrutinised. Ever since her debut album, Lights, reached number one in the UK album charts on its release in 2010, her personal life has been the subject of intense media fascination. Her exes include One Direction’s Niall Horan, the Radio 1 presenter Greg James, the record producer Skrillex and Dougie Poynter, the bassist from McFly (she did not, as is popularly claimed, date either Ed Sheeran or Prince Harry).

But, she points out, ‘me and my friends had really similar dating patterns, you know? It’s just that obviously mine were a bit more in the public eye. I was made to feel as if it was unusual to have relationships until you find the right one [but] it’s just part of being young and learning about yourself and evolving. Sometimes it requires other people to come into your life to make it so. But then when I met Caspar, I was just at this really independent phase of my life and I was like, “Goddammit!” because I was in such a strong place and then this guy comes along and I realised after about six months, “Ah, s**t – time to get married!” I knew we were going to get married. Weird feeling. Yeah.’

She is laughing as she says this, poking fun at her own reaction. Does she feel she was treated differently in the media from her male contemporaries? Her eyes light up.

‘Without a shadow of a doubt,’ she says with an alacrity that suggests she has been waiting for someone to ask her this very question. ‘Male musicians can get away with so much more than women… I felt like it was OK for a guy to go from relationship to relationship or from girl to girl without really being judged too much. With me, there were several articles that began, “So and so’s fling, Ellie Goulding.” I became the secondary thing, even though I was consistently a successful musician and I worked hard, I didn’t mess around. I didn’t make a career out of drama, out of publicity, out of hype, I just made it out of the music. I was killing it! I was touring and I was performing – every single night. I worked hard and that was my job, I saw it as my job, something that I was passionate about. But at the same time it still felt like relationships I was in seemed to take precedence over my success, over my talent. That was slightly confusing to me, and still is, really.’

I can see why. There is no doubting Ellie Goulding’s success. She has built up an estimated fortune of £20 million and has won so many awards that they warrant their own Wikipedia page. She is that rare thing: a commercially successful artist who also garners substantial critical acclaim. And she has done it all through sheer hard graft.

Her childhood could not have been more different from the exalted social circles she now finds herself mixing in. She was born Elena Goulding in Lyonshall, Herefordshire, the second eldest of four. Her mother Tracey was an art student who dropped out of college when she became pregnant with her eldest child. Her father Arthur was an undertaker and part-time musician who left when Ellie was five. Her mother later remarried and, for years, Ellie was estranged from her dad, although they reconciled before her wedding and he walked her down the aisle.

‘I suppose part of being in relationships consistently [in her 20s] was because I just always was like, “I need someone, I need someone!” And you feel as though you can’t exist without someone, which is just madness. I put that down to my dad not necessarily being around, and needing that comfort,’ she says with brutal honesty. Ellie’s formative years were spent not knowing when the electricity would cut out, taking caravan holidays in Tenby and attending the local state school. She was a straight-A student (her favourite authors are Sebastian Faulks and Haruki Murakami) but she never felt part of the ‘cool gang’ and was bullied. She failed her music A-level: ‘I didn’t show up [to the exam] because a girl was bullying me. It was not something that I could emotionally handle because I think the only way to deal with someone like that was to be even meaner than they were. And that was just not in my make-up. So instead I simply stopped going to college.’

She refers to her teenage years as ‘chaotic’. She shared a bedroom with her two sisters – ‘it was quite challenging’ – and then left home at 16 to move in with a boyfriend. ‘I was doing every waitress job I could find. Then I was working at an old people’s home. I had three jobs while in college.’ She also started writing songs and playing guitar and found that she was able ‘to write down my emotions. I was very angsty. People used to call me a goth because I dyed my hair black and I had my lip pierced. It was a teenage thing where you’re suddenly finding out about yourself.’

She changed the way she wrote – from left-handed to right-handed – and the way she spoke, dropping her natural Herefordshire accent in favour of the people she saw on TV. ‘I listened to newsreaders and period dramas and I was like, “Why don’t I talk like that?” But I must say I do regret that now. I don’t know why I did that.’

To me, it sounds like a young woman aspiring to better things, driven to reinvent herself without much guidance other than her own instincts, and it’s simultaneously impressive and rather heart-rending to think that, as an adolescent, she never felt good enough as herself. Later, she went to the university of kent to study drama – the first in her family to go on to higher education. It was there that she was spotted performing by a music manager who signed her at the age of 19 and got her a record deal. After that, Elena became Ellie and a modern-day pop star was born.

Before meeting her, I hadn’t fully appreciated the rapidity of her ascent or the level of dedication and work it must have taken to get to where she is. She has spoken in the past about her struggles with anxiety and body image and the fact that she found solace in regular exercise and eating healthily. She runs, boxes and does yoga. In the past, she has been a vegan but these days she’s more interested in bio-hacking (the practice of using technology and diet to boost physical and cognitive performance) and has reintroduced some dairy. Caspar, by contrast, was raised in a farming family, and is an unapologetic meat-eater.

I wonder how much of Ellie’s exercise and dietary regime stems from a desire to impose some sort of order on her life. Having experienced the chaos of not being in control as a youngster, then pitched into a world of endless touring and performing at the behest of management teams, is it important to her to control what she can?

‘Yeah! My god! I mean, isn’t it for everyone? I have to have such a huge amount of control in my normal life because my songwriting and my performing are so the opposite… When I’m in the studio I have to let myself go and completely lose control to get to a place where I can write honestly and truthfully and access something that I don’t when I’m just in the zone of training or… I don’t know, making some kind of mad smoothie or something.

‘I have to constantly go from “crazy person writing songs and performing on stage” to having to keep this control. I find training to be such a core, integral part of my life – keeping fit and healthy and strong, both mentally and physically.’

Exercise, for her, ‘is not just about being physically strong. I mean, it literally lifts your mood, you know? It releases endorphins. You never regret a workout.’

Love, in the end, was also beyond Ellie’s control. She never planned to meet Caspar but, when she did, ‘part of the urge I had that I was going to marry this person was because, for the first time ever, I felt like there was someone that was supporting my happiness rather than being my happiness.’

I’m intrigued to hear what future songs she will write from this place of contentment and stability. For now, there are 20,000 bits of merchandise to sign. Although she did once teach herself to write with her right hand as opposed to her left, ‘sadly, I can’t write with both at the same time otherwise I’d sign these a lot quicker, wouldn’t I?’

Give her a few years. I’m pretty sure that Ellie Goulding could achieve anything she sets her mind to.

Photographer: Louis Browne WMA Agency @louis_browne. All clothes, shoes and jewellery: Gucci @gucci. Make-up: Lucy Wearing @lucylovebird. Hair: Anastasia Stylianou The Only.Agency @anastasiastylianou. Location courtesy of Adot.com @adotdotcom for charity event M2M @mothers2mothers.

#ellie goulding #news #you magazine #daily mail #editorial #ellie #goulding #elena jane goulding #brightest #blue #brightest blue #eg4 #louis browne #you #magazine

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registrymoon · 2 years ago

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50 shades of grey scenes

I thought this would be my one opportunity, so I said yes.” She adds, “There’s all sorts of fun you can have in a darkened room … You can eat lots of popcorn, for example … But there’s a special thrill seeing what used to exist only in your head and on the page up there on a screen for an audience to experience together. I used to work in TV, and I enjoyed it, but like a lot of TV people I’d always wondered how it would be to work on a movie. But when they went viral and started selling in millions, Hollywood came calling, and the demand for a movie, from studios and from fans, became almost overwhelming. James says, she wasn’t sure she even wanted to make a film, but then jokes, “Have you met my agent, ?” She adds, “When I started out writing Fifty Shades and sharing it with friends on the Internet, I had no idea this is where this would all lead. There are few book-to-film projects in recent memory that have been as anticipated, debated, and kept under wraps as Fifty Shades of Grey. “Life was all about parties and entertaining.” The couple lived in a Georgian home in Marylebone. Jopling, Taylor-Johnson’s first husband-an Eton-educated son of a Tory M.P.-became one of the most powerful art dealers in Europe and the primary salesman of the Y.B.A.’s, including Hirst and Tracey Emin. “In the art world, the more blue-collar you are, the more you get invited to dinners with ambassadors of whatever, because you’re presumed to be an interesting person,” she said, a bit dryly. We talked about her childhood in England, spent on welfare in a “strange, dark, gloomy house that still gives me nightmares,” before she made her way to Goldsmiths art school, where she befriended Damien Hirst and many of the young artists known as the Y.B.A.’s, or Young British Artists. It helps me clear my mind and helps me keep sane,” she explained. “I have had to every day because of the madness of Fifty Shades. Stepping lightly in her sneakers, Taylor-Johnson headed out of her home and began hiking up a steep path. “And we’ve also got two dogs who are girls, so Aaron is completely outnumbered: it’s seven to one in this household! There are crazy hormones here.” “Aaron takes care of the girls when I’m working and he’s not,” she said. The kids went off to the playground with their father. “It was move the family to Los Angeles to finish Fifty Shades or commute from London,” said Taylor-Johnson, a slender, self-possessed blonde who had dressed in sporty blue shorts and a white T-shirt in expectation of taking a hike. On a recent weekday at 8:30 A.M., those young girls, plus Taylor-Johnson’s two daughters from her previous marriage to art dealer Jay Jopling, a near tween and a teenager, were climbing around her Hollywood Hills villa like macaques on a Hindu temple.

“No, it was amazing,” said Taylor-Johnson, adding that women shouldn’t listen to male doctors at hospitals who tell them to give birth in a certain way. The two were married in 2012, and together they have two daughters, whom Aaron delivered on his own at their home in London. She’s also futzed with her name of late, after falling in love with Aaron Johnson, the 24-year-old Godzilla and Avengers: Age of Ultron star, whom she cast as a young John Lennon in Nowhere Boy, her first feature film. Like James, Taylor-Johnson, 47, is British. That is, few women except Sam Taylor-Johnson, director of the first film in the Fifty Shades trilogy (yes, there will be not one, not two, but three movies, provided that the first, which opens in theaters on Valentine’s Day, isn’t a colossal misfire). James, the 51-year-old, dark-tressed British author who created a compendium of her sexual fantasies, called the book Fifty Shades of Grey, and watched in shock as the book and its two sequels ( Fifty Shades Darker and Fifty Shades Freed) sold more than 100 million copies worldwide, making her more than $100 million.

Few women in the world are more self-actualized than Erika Leonard, better known as E.

#50 shades of grey scenes

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