Lockdown Beautiful Stuff – Part 14

Gav from New Zealand sent us this. Says it all!! We love Donald T. pushing his potions. Brilliant!

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Lockdown Beautiful Stuff! Have you done a painting, taken a photo or made any other beautiful stuff as a result of having to self-isolate at home? Please send us a photo and two lines of text indicating the why of it and what it means to you. We guarantee to publish it on Talking Beautiful Stuff in the weeks to come. Thank you!

Roger Pfund at Artvera’s Gallery

Talking Beautiful Stuff takes on the opening of the Roger Pfund exhibition at Artvera’s. The invitation bears his iconic 1980 design for the last 50 French franc note. We get to the gallery early, grab a glass of champagne and soak up the atmosphere of this very classy exhibition. Geneva’s great and good drift in. Roger Pfund, who has designed bank notes and passports, created the visual identity of museums and depicted the spirit of human rights, is now a sprightly 75 years old. He sits quietly surrounded by admirers. He remains the only person to be honoured during their own lifetime with a major retrospective at Geneva’s Museum of History and Art.

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Roger Pfund, Nijinsky Dancer, mixed media, 2005, 140cm x 104cm

For Roger Pfund, the “vertebral column” of his work has always been painting. I admire and adore his huge mixed media portrait of Vaslav Nijinsky based on a 1912 photograph by Adolf Meyer

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A hallmark of his work is the mastery of and versatility with a wide range of techniques and materials including, oil, acrylic, charcoal, collage, screen print and engraving. It’s all on show this evening.

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Roger Pfund, Droits de l’Homme (Human Rights,) mixed media, 2006,  700cm x 180cm

One of Pfund’s most celebrated works comprises eight separate framed pictures together bearing the words of the first article of the Universal Declaration of Human Rights along the outstretched arms – or wings – of a Nijinsky figure. There is something incredibly primitive about this image. It is as if the spirit of the great dancer, rather than being crucified, simply spreads its broad wings and takes flight as a result of his fundamental rights being respected.

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This is a vast work. To appreciate it, one needs a wide view……

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…… and a close up. Does this incorporated print technique allude to banknote design? And talking of banknotes, if you go to Artvera’s – and you should – before this exhibition closes on 7th April, just take note of the price tag on this one!!

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The basement is dedicated to Pfund’s banknote designs. They are printed in high definition on aluminium plate using subligraphie. The reproductions are protected by PhyGital (a merge of physical and digital technologies;) an authenticity certification system developed by a Swiss enterprise, Trueplus. Pride of place is given to an exquisite series of notes designed according to various European “époques and styles.” Each note is a masterpiece. In 1996, this series was awarded first prize by an international jury charged with finding a suitable design for the then-new Euro currency. Inevitably, European politics intervened and the second-placed design was finally chosen.

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We leave the exhibition buzzing. If you’re in town, don’t miss this opportunity for a brush with soul-enriching genius.

Discovering David Stacey’s natural world

I spent Christmas with my daughter who lives in Kuranda, a tourist destination in Tropical North Queensland, Australia. This small, unique village sits atop a mountain range cloaked with ancient rainforest and is accessed from the coastal plain below by a colonial style railway, a winding, mountain road and a cable car. In the 1960s its famous Hippie Market established it for tourism; hence its art galleries, souvenir shops, small zoos and various eateries.

In his small, walkthrough gallery in Kuranda’s centre, David Stacey sat working on a pencil drawing in the corner as I walked through to get coffee in the square beyond. I never got beyond. I was stopped in my tracks by the unusual and amazingly colourful, original paintings and reproductions by Mr Stacey.

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My first impression was that his work lay somewhere between graphic design and picture painting and that the colourful renditions of his rainforest subject matter would appeal to the tourist market and that he would do good business selling his professionally presented greetings cards, prints etc. But there was an element about every work that appealed to something deep within me that kept me looking and kept me very interested. Mr Stacey was botanical artist, landscape painter, scientific illustrator and graphic designer all rolled into one.

Some of his paintings were conglomerations of maps, landscapes and the creatures and features contained within. I felt that each painting was conveying ideas, feelings, incidents and stories. I was convinced that he was telling of and expressing, in an holistic way, his affinity with, his understanding and appreciation of and respect and love for the surrounding country; particularly the rainforest. I was not therefore surprised that when I eventually spoke to him and asked him what his favourite work was he told me it was the Flaggy Creek Triptych above.

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I realised why Mr Stacey’s work was reaching me. Although he does not paint in a strictly realistic style I noted the accuracy of his drawing in his portrayals of different species of flora and fauna; from forest fruits to birds and frogs. I applaud accuracy and this level of it only comes from an intimate familiarity, born of respect and love, for these denizens of the forest. As a student and illustrator of Natural History and familiar with many of his subjects, including some of the landscapes, I believed myself qualified to make such judgements but nonetheless was eager to test my ideas by asking the artist himself.

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David, from Sydney, came to Kuranda already a lover of Nature in the 1980s. He confirmed to me that he spends much time in the bush and rainforest walking the tracks and studying the species. He uses a headtorch, like me, to find and encounter the nocturnal species such as the wonderful Waterfall Frog – Litoria nannotis in this painting which coincidentally I went on to photograph at Davies Creek that night after speaking with him! It is no wonder he loves this landscape. Davies Creek is the most gorgeous of places and the habitat of this endangered and beautiful Frog is so well portrayed in his painting.

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David agreed that his style was not unlike Aboriginal art in the way that it expresses his world in an holistic way rather than concentrating on a single subject. However he stated that his style had evolved from his personality rather than having been influenced by Aboriginal art. I thought convergent evolution manifests itself in more ways than we think! The Aboriginal and David Stacey both expressing their world by painting it in their own individual way but in a way that displays much similarity.

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When I asked David “why do you paint?” he thought for a while then said “what else can you do?” We discussed what he meant by this and agreed that, like me again, he is driven to recreate that which he finds aesthetic; only in his case it is a whole ecology that he has to recreate and thus his conglomerate paintings reflect this. He says that in this modern world he believes that “people are losing their sense of aesthetic and beauty.”

He is a thoughtful man; never answering a question without pause for consideration and whilst reflecting on our interview I later wondered if David Stacey was in his gallery in body but his mind was wandering the rainforest where he was most happy?

David is creating a book with a publisher already very interested. It is an illustrative narrative about the journey of water in a certain creek from source to sea. I was very privileged to be shown some of the plates for the book. It will be unique and quite stunning. It will be for young and old and filled with all the plants, animals, geology, stories and ideas provoked by a long love affair with the natural history of the rainforests of Tropical North Queensland. I shall certainly buy a copy.

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David Stacey sells well to the tourists. His limited prints are extremely well produced. This does not devalue his work but I believe that it was not created for this reason. His are works of passion; expressing his world of the rainforest. I think it sells well because it is simply very beautiful stuff about very beautiful stuff.

Fear and loathing in…… Switzerland!

As I write this blog post a United States health official announces another ebola case in Texas. Fear. There is the first talk of a flight lock-down to and from West Africa. President Barack Obama says the risk of an outbreak of ebola in the United States is “extremely low.”

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I hear there is an outdoor exhibition in Plainpalais organised by Geneva city council. It documents how the foreigner – read: immigrant, legal or illegal – has been depicted in Swiss political posters. It distracts me from this morning’s gloomy news. I am welcomed by a clever image playing on the Swiss flag and inequality. The posters dating back to the 1920s are both fascinating and alarming. I come to understand that a section of the Swiss political community consistently cultivates fear of the other with ingenious design concepts. This article is about the posters and how I see them as vehicles for political messages. As a general rule, I try not to express my own political views (even though I find some of the posters offensive!)

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The principal means of depicting unwelcome foreigners is by indicating their darker skin. According to this 2007 poster, the worst case is that they might en masse gain Swiss citizenship. The designer here has created a notion of multi-racial greedy-grabbing of those all-too-accessible Swiss passports. The darkest hand is particularly clawing.

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The same politicians really do not want others – especially if the others are muslims – bringing their culture to Switzerland. In 2009, the “Minarets debate” swirled about the limits of multiculturism. A black burqua-ed woman is clearly associated here with those black threatening minaret – missiles awaiting for their deadly countdown. The whole resonates with daily news of fundamental islamic terrorism.

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In most countries, displaying this 2007 poster would most likely end in a prison sentence. It is more than controversial. Kindly and innocent white sheep kick a black sheep out of Switzerland with a view to ensuring Swiss people more security. The furrowed brow of the black sheep indicates not surprise but his intent to get back in.

Fear generates loathing. Haven’t these people heard of Allport’s scale? Gordon Allport was an American psychologist who in the 1950s wrote about the nature of prejudice. He described a five step scale of prejudicial behaviour. At step one is “antilocution” – saying bad things to or about people of a minority. At step five on this scale is killing these same people. Come to think of it, maybe they have heard of Allport’s scale! This is just too awful to consider.

Let me emphasise that racial discrimination is not alive and well in Switzerland. The political parties responsible for the posters above are hotly opposed by the majority.

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This 2004 anti-discrimination poster is also included in the exhibition. It is effective probably because, in my mind, it is so cute. I love its United Colours of Bennetton recall. The babies are looking up to a united brighter future for their generation in the arms of a soft and cuddly nanny Switzerland.

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The issue is not new as shown by this poster from 1922. I can’t help being amused by image of the six steroetypical foreigners crossing the border into Basel where gold coin is lavished upon them. A multi-tasking black cat hisses at them and rings a warning bell. In parallel, Swiss people – presumably working in Germany just over the border – are kicked out of their homes.

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A poster from 1974 warns Swiss citizens that their nice stable economic pyramid should not be supported by “invited” labour. The immigrant labourer remains “invited” as long as he can be marked out by dark skin and thick mustache.

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In 1983 those hoping to induce fear of the foreigner show cute traditional little old Switzerland about to be mugged at home by a black – note the skin – youth – note the trainer with frayed lace. The poster also implies that attempting to keep foreigners out is a hopeless task! Any viewer who disaproves or disagrees of the poster is clearly one of the ambivalent grey citizens in the background.

I can’t help reflecting on the unlikely juxtaposition of messages I receive from the news and from these posters. The President of the United States – with darker skin – calms fears about the spread of the loathsome ebola virus. The City of Geneva reminds us that some Swiss politicians clearly aim to stoke fear – and loathing – about people with darker skin. Thanks, Geneva! I know which I fear most!

Cyber photographer Chayan Khoi returns to Geneva

Remember Chayan Khoi? The cyber photographer extraordinaire is back in Geneva with his new exhibition Le Temps Suspendu (Time in Suspension). Here are some snaps and thoughts from Wednesday’s vernissage at Galerie Evartspace.

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Working with images, frames and scrapbooks (I love these!), Chayan’s new series is as bizzare and intriguing as his last. He keeps challenging our imagination, but the punchy steampunk is gone and everything feels – if possible – more suggestive and spiritual.

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Chayan’s work projects a journey through the past, the present and the future. It takes me to distant, futuristic, exciting, frightening and dystopian places. But it always leaves me with a feeling that I am exactly where I need to be at this very moment in time.

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If you happen to be in Geneva sometime between now and 30 November, I suggest that you swing by Grand-Rue 12 (not far from the St. Pierre Cathedral) for a visit. It is a great exhibition in a nice part of the town. Enjoy!