CROSS OVERS. A Summer’s Journey through Modernism and Post-Modernism
CROSS OVERS. A Summer’s Journey
through Modernism and Post-Modernism
Reflections on Contemporary Art by Bruni Schling
What is art? This question is as old as art itself, but has
probably never been asked more frequently than these days when apparently
“anything goes”.
Never before has the wind of change and innovation blown
more vehemently through the art scene, leaving behind a trail of
confusion for the public and the artist alike.
And yet most people will agree that far from producing only
ephemeral and tangential creations, there are artists who succeed in
integrating the onslaught of influences from everywhere and create works,
which epitomise the spirit of the age.
Among the encounters of art I had last summer there were
four that stood out for me as attempts to bringing together established
notions of art with new and unusual elements. Each work or artist took a
different route in mediating between cultures, genres, generations and styles.
For instance: at the Proms in the Albert Hall, I listened to
Nigel Kennedy’s new version of Vivaldi’s The Four Seasons; I saw works by
two African artists at TATE MODERN: the Sudanese Ibrahim El Salahi and
Meschac Gaba from Benin and finally I attended Royal Academy Summer
Exhibition
where Grayson Perry’s tapestries “A Small Difference” were
on display.
When Western art emancipated itself in the Renaissance from
its subservient role to religion and became an autonomous medium
for the expression and celebration of the human spirit, it embarked
on a journey of vast and dynamic changes. By absorbing influences and
elements from all kinds of sources art acquired the flexibility to express
and influence the constantly changing relationship of human beings with the
societies they live in. A process of constant self-renewal became the
hallmark of Western art, although the changes were quite slow at first and
relatively stable as long as society and art reflected each other more or less
comfortably, but they have gained more and more speed with the arrival of
Modernism and have spun out of control in our post-modern age.
In Modernism and in modernity we have experienced and
suffered a rift between the individual and society. When people in the West
found themselves faced with a meaningless universe, it fell to art
to become a prime medium for creating meaning in a world without
meaning. Instead of interpreting a pre-established reality according to
accepted rules, art assumed the total freedom to reflect and create the human
condition in as many ways as there were world views and facets of human
experience. With the falling away of social and metaphysical certainties
art acquired for many people the status once held by religion.
With the arrival of post-modernism and its concomitant
deconstruction of the basic concepts like European cultural supremacy and
patriarchal structures, notions of the elevated status of art were dismantled; distinctions between higher and lower forms of expression
fell away, hierarchies collapsed and even the concept of the autonomous
individual which, since the Enlightenment was an axiom of Western
culture was put into question. The individual itself became a construct,
something fictional both as the creator and consumer of art. If art had always
been open to
the diversity of elements, it is the diversity of elements
now that have become the substance of art itself.
The substance of Nigel Kennedy’s performance at the Proms
this year were undoubtedly The Four Season’s by Vivaldi which, as the
programme notes announced, would be played with improvisations from
the Arabic musical tradition. The presence on the stage of the young
players from The Palestine Strings in addition to Kennedy’s familiar
Polish Orchestra of Life indicated to the audience that they were in for more
than just one cross over with culture. In fact, a foray into the political
arena was in the offing.
These young musicians from Palestine admirably straddled the
course between Western and Arabic music, but were given full rein
to infuse the baroque concerto with improvised wails and evocative laments
from their culture. The tight structure of the original concerto
dissolved into long drawn out modulations washing like waves over the certainty
of Western tonality and of movements. The Jazz interludes and pastiches
by the Polish players created yet another dimension to The Four
Seasons,
suspending any sense of historical or cultural location
within the work. Kennedy himself added a Punk note to the performance through
his style of conducting, but more so through his irreverent, sometimes
even scratchy, solos.
I thoroughly enjoyed the sheer inventiveness and vitality of
the playing. This was music making from the gut, leading to a fantastic
multi-cultural synthesis. No doubt, the Four Seasons could do with a
makeover to rescue them from the habitual abuse they usually receive as
sound bites
in supermarkets and telephone waiting queues. What I had not
expected was that Kennedy would now drown the piece in a sea of
extraneous material. I would not object to a kind of cultural fusion
between the baroque style of Vivaldi with Jazz and Arabic music, if the
concerto would have kept something of its original Gestalt. In this
instance however, I felt Kennedy had pushed the boat out too far and the bits and
pieces of Vivaldi that kept popping up, where like rafters in an alien sea, which I desperately tried to hold on to. I would not want to set up
any rules for how far one artist can go when he quarries the work of
another. However, I simply felt with the flooding of the concerto with so much
that took us away from it, something that had its own beautiful integrity
was drowned.
The Sudanese painter Ibrahim El-Salah, who was given a
retrospective at TATE MODERN, travelled culturally and artistically in the
opposite direction from Kennedy. An Arab African by birth and upbringing, he
was trained in the language of modernism during his studies at the Slade
School in the nineteen-fifties. He then took his art back to Africa where
it was met with rejection and misunderstanding, which in turn forced him to
ask the simple question why does he paint. The surprisingly simple answer
was that he needs to communicate with the people with whom he shares a
culture, and this has led El-Salah to an exploration of the visual
language of his native Africa.
In the course of his development he integrated more and more
elements from his Arab African background without ever compromising
on the radical personal style and idiom of the modernist. Thus El
Salahi reverses the trends of the early European modernists like Picasso,
who helped
themselves to all things foreign and primitive, without any
regard for their cultural contexts, as long as they served the purpose of
smashing up traditional and outmoded ways of expression at home. With
el-Salahi’s paintings at TATE MODERN the language of modernism returns
to Europe,
enriched by cultural forms and images from Africa and imbued
with the spirit of a man whose life’s journey was shaped by the
disintegration of modern man healed and transformed through growing into his
personal and cultural identity. His paintings were healing rather
than hurting. My next encounter was in itself a post-modern and ironical
event.
Instead of leaving the El- Salahi exhibition through the indicated door I took a shortcut through door which said: NO EXIT and before I knew it I found myself like “Alice through the Looking Glass” in a different dimension. The quiet contemplation I had enjoyed only a few minutes ago was challenged by a topsy-turvy, giant installation. Extending over 12 rooms in the TATE, Meschac Gaba, who is another – younger - African from Benin, had created a satire on European museums in the shape of a sprawling African market. Gaba was playing back to us his perceptions of European preconceptions of African culture. There were stalls with random collections of all sorts of objects, found everywhere in Africa but also in the European imagination of the continent. Most of them were in one way or other covered with bank notes, which made an unambiguous statement about the reduction of everything to monetary value. Everything is for sale in the capitalist world
Instead of leaving the El- Salahi exhibition through the indicated door I took a shortcut through door which said: NO EXIT and before I knew it I found myself like “Alice through the Looking Glass” in a different dimension. The quiet contemplation I had enjoyed only a few minutes ago was challenged by a topsy-turvy, giant installation. Extending over 12 rooms in the TATE, Meschac Gaba, who is another – younger - African from Benin, had created a satire on European museums in the shape of a sprawling African market. Gaba was playing back to us his perceptions of European preconceptions of African culture. There were stalls with random collections of all sorts of objects, found everywhere in Africa but also in the European imagination of the continent. Most of them were in one way or other covered with bank notes, which made an unambiguous statement about the reduction of everything to monetary value. Everything is for sale in the capitalist world
and for the tourist. In one installation the countries of
the African continent were depicted as jigsaw pieces that could be moved around
and redrawn at will.
In spite of more challenges like this the show was too
exuberant, too full of fun and playfulness as to bite with real social criticism.
Everything and everybody was presented merely as a construct in a hall of
mirrors. Photographs of the artist taken at his wedding, which were
on display. The
wedding, which had taken place in the Rijksmuseum, was now
used as integral parts of a satirical exhibition in another museum.
This treatment cunningly forestalled the possibility of seeing the photos
as biographical and identificatory evidence. Similarly the role of the
viewer, in this hall of
mirrors, was determined by what he was looking at or
interacting with: from being a greedy tourist to a powerful colonialist. The
notion of an authentic self in dialogue with another one, which I had so
keenly felt in the Ibrahim El-Salahi exhibition, was thoroughly obsolete
here. Everything
was an “as if”.
My final encounter was with a new production by a British
artist, who is well known for subverting and inverting traditional forms of
art. Grayson Perry’s tapestries “A Small Difference” at the Royal Academy
Summer Exhibition are certainly ironical and deliberately
provocative in their use of
a medium that in the past was reserved for the display of
wealth and power in the places designed for the nobility. Yet where
once figures from classical mythology and heroes from famous battles adorned
the palaces, Grayson’s tapestries present themselves in comic strip or
cartoon style
and tell an apparently simple tale, accessible to everyone
from a child to an art connoisseur.
Superbly crafted, in lush colours, enticing compositions the
story of the rise and fall of Tim Rakewell is told, a working class lad
on his journey through the English class system – who has a sticky end.
However, there is more to “Rakewell’s Progress” than being a modern version
of Hogarth’s Rake’s Progress to which it clearly alludes. The moral tale
is ironically peppered with references to medieval art and to literary
traditions. Imagesof the Virgin and child and the Pieta appear side by side
with depictions from Milton’s Paradise Lost, while a portrait of Jamie
Oliver as God watches over a middle class dinner table. Motifs from the high
culture of the past are interwoven with images from contemporary popular
television shows like X-Factor. The shabby, shoddy and the sublime rolled into
one. Although very funny and playful the social criticism in this
instance bites. The tapestries are a ridicule of the British class system,
but through the
infinite cross references they achieve a more general
expression of the state of European art and culture. Grayson’s work shows that
the “anything goes” attitude of post-modernism does not need to
lead to dissolution of works of the past on one hand or the total
ironisation with the loss of any definable perspective on the other. In
Grayson’s tapestries the past is not used mainly as quarry for random elements
but as a source and system of reference, which help the public to reflect
their point of view, individually and collectively.
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