About Robin

Occasional painter. Golfer. Fascinated by humanity. Passionate about beautiful stuff, the people who create it and its narrative.

“Public Collections” at Musée Rath

The entrance to Musée Rath gives on to a noisy Place de Neuve in central Geneva. Behind the enormous oak doors, all is calm and quiet. The staff are, as usual, polite and helpful. They and visitors alike communicate in hushed tones. Everything about the place is clean, sobre, sombre and conservative. Exhibitions are always immaculately curated and the current show “Biens Publics” (Public Collections) is no exception.

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Tony Cragg, “Pallet,” 1980, Plastic Objects, Mixed technique

This eclectic collection of contemporary works celebrates twenty years of Geneva’s prestigious Museum of Modern and Contemporary Art (MAMCO.) No surprise then that the idea for this exhibition came from MAMCO’s charismatic and eloquent director, Christian Bernard. The works on view have been selected from permanent collections of MAMCO, the Museum of Art and History and contemporary art funds of both the City and Canton of Geneva. The first thing that catches my eye is the size, form and ingenuity of Tony Cragg’s “Pallet.”

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Miriam Cahn, “Zensur,” 2008, Oil on Canvas 80cm x 80cm

“Contemporary art” can be difficult to digest if there is no access to the work’s narrative beyond the title. But then, is the person creating or curating the work playing specifically on its indigestibility? Or maybe the viewer should take each work at face value and invent his or her own narrative? Often, questions-to-self do not yield immediate answers. Whatever, there is always a narrative and it’s always interesting. So I just stroll around with an open mind enjoying the narratives – whether untold, whispered or shouted – of some truly innovative and intriguing beautiful stuff.  I love the dark story implied by Miriam Cahn’s “Zensur” (Censorship.) Why is a faceless and rather delicate women in a shimmering red dress black-handedly holding down two downcast and defenseless figures?

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Christian Marclay, “Sound Holes” 2007, 21 photographs

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Detail of “Sound Holes”

One room features work by Christian Marclay. He teases us by playing with our senses of vision and hearing; light and sound. I am captivated by his idea of exhibiting a series of photos showing the visual homogeneity of those perforated, sometimes-polished metal plates you hear a reply from – and shout into – when you ring someone’s door bell.

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Christian Marclay, “Grand Piano and Mirror” 1994 with (on wall) Christian Marclay, “Rock” “Classic” “New Age” posters, 1994

Here, Marclay has replaced the wires in a grand piano with a mirror. The inside of the lid is mirrored also. The white keys are orange. Whatever he means by this, I find myself walking around it chuckling. I notice five posters on the adjacent wall for what are, at first pass, different concerts. One is for rock, another classical, another for “new age” music etc. Then I notice that the featured musician in every one is none other than the versatile Christian Marclay! Furthermore, all concerts are billed for the same day (28 May) at the same time (19.00) at the same address in Geneva (10, rue des Vieux Grenadiers, Geneva) … that just happens to be the address of MAMCO! What a guy! Bravo, Marclay!

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Down the elegant stairs…. Sylvie Fleury, “Lighten” 2008, Neon lights

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Gianni Motti, “Think Tank” 2014, 500 shredded pages of confidential documents in plexiglass light-box

On the lower ground level, I find Gianni Motti’s “Think Tank.” The concept is arresting. The written outcome of some patently important thought processes lie in a transparent container on full view to the public. But the documents cannot be read… because they are shredded! But how do I know they really were confidential documents in the first place now they are shredded? Motti gets the last laugh.

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One room is dedicated to black and white. It is very cool. I pick one work furthest on the right hand wall. It is Imi Knoebel’s massive and energetic ply-wood “Schlachtenbild” (which translates as “battle picture”) .

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Imi Knoebel, “Schlachtenbild” 1991, Lacquer on plywood

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Detail of “Schlachtenbild”

Just fabulous! Not wishing to cause offense…. I have an image of Jackson Pollock with a machine tool! I admit to a desire to go out and buy a huge ply-wood board, some black paint and an industrial drill even knowing that I would fail in my attempt to produce anything equivalent.

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Christian Robert-Tissot. “Untitled: (You’ll Thank Me Later)” 2012, 180cm x 180cm, Acrylic on canvas

Feeling both animated and challenged, I head for the exit. Christian Robert-Tissot’s provocative “You’ll Thank Me Later” is provocatively positioned just above the door. For what will I later thank the painter? For what will I later thank the curator? I find out in a few seconds. Outside, the traffic bustles, jams and hoots. I thank the Musée Rath for a fascinating couple of hours of reflection in the quiet.

With such an exhibition and the growth of Art Geneve, it seems that Geneva becomes an increasingly important centre for “contemporary art”. Whether or not this is your thing, I recommend a visit to these beautiful, intriguing and even amusing “Biens Publics.”

Ana Maria Pacheco in Norwich

I revisit my school-boyhood by wandering around Norwich Cathedral. The ecclesiastic, stoney-musty ambience evaporates as I turn into the vast building’s north transept. Under those near-one-thousand-year-old single-centered arches I find a sculpture that is beautiful, astonishing and haunting.

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Ana Maria Pacheco “Shadows of the Wanderer” 2008, Polychromed wood sculpture

I am transfixed by these life-size figures illuminated by stained-glass sunshine. Other visitors stop and stare. I am sure that they too have a torrent of questions in their minds. What does it mean? How was it done? Why is it here? In hushed voice, a man asks his young son “What do you think of that then, Tommy?” After a few seconds of thought, the boy replies “Brilliant!” And it is. But I would love to know what he means by this.

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Detail of “Shadows of the Wanderer”

The central piece is a young man stepping forward with the weight of another, sick and fragile man on his back. He is exhausted and might be about to stumble off the crude platform. Both are carved from one piece of wood. Words of a song come to mind: “He ain’t heavy, he’s my brother!”

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Detail of “Shadows of the Wanderer”

The other eight figures are also carved in one-piece. They are cloaked in ebony black. The eyes are onyx. The faces are exquisite, multi-ethnic and anxious. One person’s pain is clearly felt by the others. “Shadows of the Wanderer” is about exile, migration, vulnerability and above all fear.

Ana Maria Pacheco was born in Goiana in Brazil in 1943. She witnessed the cruelties and injustices of life under a military junta from 1964. In 1973, on a British Council grant, she won a place to study at London’s Slade. She went on to merit appointment as director of Fine Art at the Norwich School of Art (now the Norwich University of the Arts) from 1985 to 1989. She has exhibited at many of the major institutions in the UK including the British Museum, the Tate Gallery and the Victoria and Albert Museum.

Remaining close to her outraged roots, a central theme in all her work is the abuse of control and power and the vulnerability of the victims. So take a look at what I find when I cross the footbridge to the gallery at the NUA!

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Ana Maria Pacheco, “The Banquet,” 1985, Polychromed wood sculpture

Pacheco’s “The Banquet” is grotesque and mesmerising. Four huge, bald, authoritarian men in black are invited to feast on a variety of cruelties about to be inflicted on a pleading and helpless torturee lying prone on the table. The proud host on the left encourages his gleeful guests to tuck in. On the right, the most eager is already rising from his seat with his eyes firmly fixed on the cleft in the poor fellow’s buttocks. This work, sculpted 23 years before, explains the fear and anxiety of “Shadows of the Wanderer.”

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Detail of “The Banquet”

I wander around these figures. Again, the lifeful onyx eyes. No one is looking; I place a hand on the shoulder of the host. I feel no unbidden pulse of sadistic energy. But then I recoil with a bizarre mixture of disgust and admiration. Each figure’s mouth has real teeth implanted in its woody gums!

Norwich: a fine city! Ana Maria Pacheco is something of a rare and exotic bird for this very English place. Her technically accomplished work is like nothing else. It incites a tangle of emotions. It is impossible to point at influences. It draws on folklore, biblical myths, carnival, love, family, death and violence. Its human face recalls the amerindian, african and european ethnicities of Brazil. Above all, it is, as young Tommy said, brilliant. Utterly brilliant.

“Shadows of the Wanderer” and “The Banquet” are part of a four-way interlinked exhibition celebrating this versatile sculptor’s work in Norwich. The other locations are Norwich Castle Museum & Art Gallery and the Cathedral of St John the Baptist. Hats off to the curator, Keith Roberts!

“Wandering the Immeasurable” by Gayle Hermick

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It is January. I am on a tram at the border of France and Switzerland just by CERN, the European Organization for Nuclear Research, (the Large Hadron Collider guys.) I notice a huge curling metal structure standing proud from the persistent snow. A biting wind dissuades interest beyond a long-distance snap with my iPhone.

On-line, I find that this work is “Wandering the Immeasurable” by Gayle Hermick. I speak to a physicist friend who works at CERN. “All of us love that sculpture!” he explains. “It tells the entire story of our field.” I am intrigued. This reminds me of a stroll through Cambridge (UK,) and how beautiful sculptures and paintings are used to pay tribute to the brilliant minds who have brought extraordinary advances in knowledge and ultimately changed humanity.

More snow. The weeks pass before I want to return. When I do, I find this to be a work of staggering beauty in which the aesthetic combines with what is probably the most important human narrative of all.

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Hermick visited the CERN site in 2005. She was bowled over by the enormity of what the Large Hadron Collider represents: a massively ambitious experiment based on centuries of scientific exploration. What inspired her was the realization that any theory in physics is based on theories that came before it that, in turn, are based on other precedents. The connections between theories weave together the story of science. One side of the coiling stainless steel ribbon carries 396 important scientific and technical discoveries inscribed in their language of origin, accompanied by the names of their discoverers. The list begins with sexagesimal calculations in Mesopotamia from 4000 years ago and ends – for the time being – with the discovery of the Higgs boson at CERN. The tail of the ribbon remains suspended, as if awaiting future events.

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The other side of the ribbon showcases mathematics: the language of science. This helps the visitor, whatever his or her background, to appreciate how mathematics underpins the 396 discoveries. The whole is accessible to the non-scientist and so resonates with the educational goals of CERN.

Putting the aesthetic and the narrative aside; the work is awe-inspiring as a technical accomplishment. It took a crew of metal workers over a year to make. The process involved specialists who could laser-cut the text and electro-plate the equations into stainless steel.

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And what of the “who” behind this monumental work? Gayle Hermick trained in Fine Arts at the University of Manitoba, Canada. She gravitated to sculptural forms in clay. Metal was a natural evolution. She is tolerant of my persistence and generous with her time giving honest and elegant answers to my questions. I ask her how she won the commission for the work. She replies “It wasn’t a commission. I pitched the idea for a sculpture on the site after touring the then ‘in progress’ Large Hadron Collider. I did not visit CERN with a physics or mathematics background. The dance to create the right sculpture involved much research on my part and some to and fro with CERN to gain more insight into particle physics. I realized quickly that I did not have enough knowledge about contemporary physics to create a work about a specific theory but I also realized that I was in good company with most of the world.  My sculpture grew naturally from this point. I wanted it to be both a monument to what has been achieved and to inform myself, and hopefully others, about how we, humanity, got to the point of colliding particles just under the speed of light to understand what makes up our universe.” (Wow!) She continues “I was enthralled with the beautiful but impenetrable equations accompanying every article I researched.”

She tells me that whilst the inspiration for “Wandering the Immeasurable” was sparked by her 2005 visit to CERN, the visual concept came from the multicultural nature of CERN as an institution, its scientific goals, its educational goals and, by her own admission, her ignorance and confusion about contemporary physicists and theories. I cannot imagine that there exists many other sculptors with intellectual horizons as broad.

Naively, I ask her if, as a result of her extensive research, she has a favourite physicist or theorem. “This (the whole project) has been an exhilarating plunge into the history of science and physicists that will stay with me the rest of my life. I admire greatly the early scientists who came to their discoveries from different disciplines, there are so many – one, Gilbert, a physician, arrived at the conclusion the earth was magnetic which is why the compass points north. And there’s the ingenuity of Pascal’s calculating machine. Galileo’s dedication to observation is breathtaking; his thorough documentation of the moons of Jupiter and sun spots are astounding feats. I read about the careful tabulation of astronomical data from Brahe enabling Kepler to discover his laws of planetary motion. I enjoyed biographies of physicists: the Curies, Rutherford, Heisenberg, Planck, Bohr, and Dirac to name a few. And what an exciting time in physics just prior to World War II!  After years of quiet experimentation, I believe (with discovery of the Higgs boson and the potential output from the Large Hadron Collider), we are in another exciting time for both cosmology and particle physics.” Does she understands physics now? “Robin I think this question is very funny!” she answers. “I think there are physicists who don’t understand contemporary physics.” She then lists, with citations, some prominent physicists who admit to not fully comprehending their chosen field. The list includes Einstein who, apparently, did not believe in quantum theory.

So, as the warmer weather approaches, why not visit CERN and Hermick’s stunning creation? Take a picnic, listen to music, take photos and consider…. but for those texts and equations, you wouldn’t have got there, you would have no leisure time because you would be so busy trying to find enough food for your picnic, there would be no way that music could be recorded and you wouldn’t be able to take photos because cameras wouldn’t exist. In brief, without those scientists and their discoveries, all of our lives, assuming we even existed, would be solitary, poor, nasty, brutish, and short.