Tell a vision

Artwork: Mural by Huariu, Tell a vision, Bacău, Romania, 2024

Portuguese street artist Huariu (@huariu) has created a powerful mural for ZidArts Festival in Bacău, Romania titled Tell a vision. Huariu wrote this about the ideas behind the mural:

“Addressing the impact mass media has by compelling citizens to accept obvious falsehoods and the power to dictate what is real, to manipulate and oppress individual thought and perception. For this I have chosen to use George Orwell’s ‘2+2=5’ idea from one of the most banned books in history: ‘1984’. The little boy, mesmerised by the TVs, will soon forget how to play. Slowly killing his ability to imagine, he becomes more and more attached to screens. His understanding of the world will soon be shaped by these same screens.”

Gold Coast

Wonderful to listen to Ghanian-American singer, writer and multi-disciplinary artist Moses Sumney’s new EP Sophcore (2024). Sumney’s voice and poetic lyrics have always been a standout for me. One song hooked me in, Gold Coast, with its lush and layered sound; it’s a sensuous, hazy track with an edge of grit, an intimate story of intense attraction and surrender. Enjoy!

Banksy's back

Artwork: Stencil work by Banksy, Richmond, London, 2024

Banksy is back with a series of stencil works around London, the first is a mountain gazelle on a wall in Richmond, near the Thames River and Kew Bridge. It’s a black silhouette of a mountain gazelle, and many have noted it is the national animal of Palestine, and is also an endangered species. Simple, powerful and direct. However I’ve also come across Banksy’s “team” at his support organisation Pest Control Office, posting comments that the works are meant to provide amusement and emphasise the “human capacity for creative play” in opposition to destruction and negativity. Other animals to crop up have been monkeys, pelicans, a howling wolf and two elephants, a veritable menagerie. What I’ve always liked about Banksy is allowing the images to speak for themselves, with literally no discourse around the work’s creation. Make of them what you will!

peace

Artwork: By Kennyrandom, Padova, Italy, 2024

Always, peace…another poetic work from @kennyrandom.

small stories: no end

Artwork: Mural by Banksy, Bomb damage, Gaza, 2015

the bombs

keep coming

at first light

waiting in queues

when asleep

searching for food

carrying water

kicking a ball

catching a breath

the noise a terror

as if there is

no end

and we become

as though we are

nothing


© Angela Jooste

To reach for the moon

Artwork: Stencil by OAKOAK, To reach for the moon, 2024

Simply luminous…stencil artwork by OAKOAK (@oakoak_street_art).

How to Meet an Angel

Artwork: Ilya and Emilia Kabakov, How to Meet and Angel, Garage MCA, Moscow, 2019

Flight, escape, freedom—despite the impossibility of these conditions—are major themes of the Russian artists Ilya and Emilia Kabakov, and are evident in this most improbable yet hopeful installation, How to Meet an Angel. The Kabakovs are renowned for their immersive installations featuring drawing, architecture, painting, objects, books, models, and this particular outdoor installation features an assemblage of scaffolding supporting a ladder reaching into the sky, with a sculptural figure of a man with his arms reaching upwards. It is immensely strange and thought provoking: What is this about? What’s the story behind it?

 Storytelling is a fundamental element of the Kabakov’s work as Emilia Kabakov has noted: “Storytelling makes people think and contemplate and it becomes not only about an image but about the content of the painting or installation. But narrative is what makes art work interactive. In a way, it is this interactive work that we are trying to implement into every artwork we create.” What seems to have inspired the creation of the work is the belief in angelic encounters, as the Kabakovs have stated: “An encounter with your angel in real life appears to be virtually impossible. But that is far from the truth. All that is necessary is to recall that this encounter can take place in extreme circumstances, and especially at critical moments in a person’s life. And, it is within our powers to create the situation for such an encounter.” In this story, the imagined extreme scenario is the ladder providing a testing situation that a person must ascend and be prepared to stay for two days: “However, once he is near the top he finds himself high above the clouds, alone within conditions of wind and inclement weather; he thus creates—it will absolutely arise—that crisis moment when, upon the request for urgent help, the appearance of an angel will turn out to be inevitable.”

Hope, imagination, fantasy, spirituality, possibility…all these elements underpin what is certainly an extraordinary creation, whatever you choose to believe. Central to this work is the human experience in such a story. As Emilia Kabakov summarized: “Our work is always about human conditions, fears, hopes and, most importantly, dreams. We try to create an utopia, ideas of paradise, imaginary cities, angels and that is why it is universally accepted and understood. Of course, it is important that all of our works are using the universal language of art.”

Please help me

Artwork: Mural of children in Gaza by Banksy, 2015

A young girl called Sarah from Gaza wrote these words on sheets of paper and filmed herself, slowly revealing all she’d lost:

I want my hand

I want my house

I want my school

I want to live in peace and freedom

I want to live my childhood

Please help me

Inhibitions

Massive track from Nox Vahn and Joseph Ray that was love at first listening and that I keep coming back to, Inhibitions. It came out a couple of years ago under the Anjunadeep label. Dark, cool and a real banger. Check it out!

Memories

Artwork: Mural by Millo, Nuart Festival, Aberdeen, Scotland, 2024

Stunning new mural from Millo in Aberdeen, Scotland, for the street art festival Nuart Aberdeen, featuring images from the city’s history and Millo’s own experiences that coalesce into a new moment in time.

Millo says of the work: “Having a life in constant movement made me understand how the memories of all these experiences is the biggest legacy. […] As the unwritten stories represented, so my wall is destined to fade away, both subject to time passing, both signs of living heritage.”

SWWAY

Japanese surfer Naomi Kobayashi has a cool effortless surf style that’s the major feature of this recently released short video shot in Mexico, SWWAY, by Make it smooth Productions. Opens with a great track by Populous & Emmanuelle, Flores No Mar. Check it out!

Sacrilege

Artwork: View of Jeremy Deller’s wall mural, A Good day for Cyclists, 2013, at the Venice Biennale, British Pavilion

In Jeremy Deller’s 2013 Venice Biennale exhibition in the British Pavilion, English Magic, a large wall mural featured a giant protected hen harrier bird aloft and clutching a tiny red Range Rover in its claws. The mural is titled, A Good Day for Cyclists, and is a curious piece, the story behind it illuminates much of Deller’s thinking and approach to his art. Six years prior an incident was reported that two hen harriers were shot out of the sky above the Queen’s Sandringham Estate in Norfolk. Prince Harry and his friend were apparently the only ones in residence at the time. As Deller noted, while the identity of the shooter was never revealed, if an ordinary citizen had shot one of these birds, they would have gone to prison for six months, and this bothered Deller. There is an element of justice prevailing, nature triumphing over humans, and a “flipping the bird” at the aristocracy and elites who most often drive the archetypal Rover SUV. Trained in art history, there is an investigative and curatored aspect to his work, where his ideas are often brought to life through collaborating with others. The mural is an example, having been painted by another artist. Deller employs whatever means best communicates the idea, and I’ve featured blog posts on his various paste-ups and wall posters used to focus attention on subjects such as international human rights, poetry to British elections.

Artwork: Jeremy Deller, Sacrilege, 2012

Humour, irreverence, and a keen interest in history and its relationship to the present are key elements to his art, a classic being his inflatable life-size bouncy castle of Stonehenge, Sacrilege, which toured England in 2012, and also featured as a video in English Magic. It’s a work of joy, fun and daftness, yet there is an undercutting satire of reducing Britain’s famous ancient monument associated as a Druidic temple, to a playful entertainment spectacle. Deller was commissioned to create an artwork by the Glasgow festival of Visual Art and the Mayor of London for the Olympics and says this about it: “I just wanted to make the most stupid artwork ever made […] Some people will be very annoyed by it, so I just thought, well, you might as well just get the criticisms in first.” The title kind of one-ups the critics as kids and the public have huge fun trampling a national icon. He continues: “In a way [Sacrilege] was meant to counteract what I felt was the pomposity of sport and the Olympics. As it happened, it wasn’t so pompous in the UK, but the whole Olympics movement seems to be really full of itself, so I just thought, let’s do something about Britain that shows we have a sense of humour about our history and we’re willing to satirise ourselves almost and have fun with our history and identity.”

The Peace of Wild Things

Photograph by Adrien Lahaye (@sergdady), 2023

I came across this truly lovely poem by American poet Wendell Berry and wanted to share it, how it offers a quiet space to simply be:

When despair for the world grows in me

and I wake in the night at the least

sound

in fear of what my life and my children’s

lives may be,

I go and lie down where the wood

drake

rests in his beauty on the water, and

the great heron feeds.

I come into the peace of wild things

who do not tax their lives with

forethought

of grief. I come into the presence of still

water.

And I feel above me the day-blind stars

waiting with their light. For a time

I rest in the grace of the world, and am

free.

Writing Time with Water

Artwork: Song Dong, Writing Time with Water, Beijing, 1995 (documentary photograph of performance)

When Chinese artist Song Dong was a child, in order to not waste paper and ink, Song’s father encouraged him to use water on a stone to practice his calligraphy. This formed the basis for his ongoing artistic practice, especially the series Writing Diary with Water (1995-) where Song kept a daily record of his activities written in water on a dark grey stone. As the characters were created, they would soon evaporate, signifying for Song, “…random fragments of memory, imprecise, incorrect, incomprehensive and incomplete.” Song’s performance highlights the centrality of water in his art, its transience, formless and ephemeral qualities, and he encapsulates this saying, “The allure of water is its formlessness.” This idea informs another series of works that began in Beijing, Writing Time with Water (1995). In an alleyway, Song wrote with a brush dipped in water, the actual time in numbers in a series along the pavement, which formed the substance of the artwork. The performance was documented through photographs: a progression through time as he wrote consecutive time signatures, illustrating how both time and water evaporated in the process. The alley in Beijing became a “tunnel of time”, revealing that as people live their lives, as Confucius is attributed as saying in The Analects, “Time flows away like the water in the river.”

Bound #2

Artwork: Beili Lui, Bound #2, 2009

I’ve written about the significance of red thread in the work of artists such as Akiko Ikeuchi, Chiharu Shiota, and Beili Liu (blog post here). Recently I came across this beautiful work by Beili Liu, Bound #2 (2009), which Liu made after moving to Austin, Texas and featured at D Berman gallery. Beili Liu wrote about the piece:

 “Two weathered, human-sized oak columns (reclaimed wood from shipping containers) stand in opposition to each other, with thousands of gossamer red threads spanning the distance between them. Each thread is held in place by a needle at each end. Although the thousands of lines connect the two columns and visually pull them towards each other, they are solidly anchored in place and stand silently apart.”

As I mentioned in the previous post, there is a Japanese folk story about the significance of the red thread, that two souls destined to be together are connected by an invisible red thread, and no matter the time, place or situation this thread may stretch or tangle, but it will never break.

Another Japanese folk story similarly speaks about this distance, connection and longing for a destined or lost love: If a boy ever loses his loved one, he will search for her in everyone he meets, and that if you can’t sleep at night it’s because you’re awake in someone else’s dreams. The sun and moon yearn for each other, but time kept these two people apart. So, the Creator painted the skies with eclipses, proving that even the most improbable love can unite,

The Day of the Flame

Image: Rafah, May 26th 2024

I wrote this poem, The Day of the Flame, because I could not be silent—

hundreds of bonfires were lit

marking the day of the flame

Lag BaOmer, a day long ago

when a rabbi blazed before

passing from this world

with an inner fire, revealing the light

and secrets of the Torah

while the sun did not set, so that now

the many bonfires reflected

the radiance of this holy scripture

and the light it brought to the world,

yet on this same day

the fire of bombs could be seen

not far from those celebrating

as Rafah burned

bodies incinerated in tents

in a space designated

for refugees as “safe”

children, all innocence and light

immolated as they were dug from

the smouldering ashes

and debris, dismembered

while the flames continued

to burn until dawn

a hell on this same earth


© Angela Jooste

small stories: Wandering Star

Artwork: Andrew Rovenko, The Tide, 2022

She was trying to find a way home.

            It should have been simple, except home was far, far away from here. An inner-city suburb of Melbourne, where her papa said they were lucky to have landed. Kira wasn’t sure what he meant, except they’d arrived in a plane when she was barely able to walk, her mama holding her, the feel of her arms an echo of memory that ached.

             “Why can’t we go back?” Kira asked.

Papa was quiet, looking out the window at the distant moon. “Some places can no longer be home.” 

It wasn’t an answer she accepted. Some places were always home, regardless where you found yourself. 

How could Kira explain the dislocation? The sounds of a new language that kept her on the edges of playgrounds, then at school. She was quick and agile of mind, but there was always the taint of fear: of being noticed, picked on, or isolated. 

And then her mama got sick, fading to become so thin Kira trembled to touch her, wondering if she’d still feel flesh, not air. 

“Will she get better?” Kira asked, after seeing her mama in the hospital. 

Papa held her hand as they walked to the train station. “The doctors believe she will.” She didn’t ask if they could be trusted to know, the sadness and strain in her Papa’s face scared her.

When she couldn’t sleep at night, Kira listened to the stars sing. That’s what she imagined, that the stars hummed, vibrated and zinged with energy. Seated before the window, the sky was vast as the ocean. It was the one thing she loved living here, the wide-open sky above their small house, and the garden her mama said reminded her of home. That other home where Kira had been born, where her parents and grandparents and their parents had been born. A city called Odessa. “The name always makes me think of the word odyssey,” Papa said, pointing to it on the globe in her room. That word meant a long voyage. Strange to think of a place that reminded you of leaving, not staying.

Papa would hold her some nights, the nightlight the only light in the room, as they searched the sky for the stars to anchor her. “See those three in a line? That’s Orion’s Belt.”

“A belt?” Kira asked, wondering how stars could be a belt.

Tracing with her hand in his, he pointed to the constellation of Orion the Hunter. And that’s how she began travelling the night sky, a star map now pinned to her wall, wondering if she could ever find her way back to where her life began and where her mama had been healthy, where there were still those people she called family. 

“Do you think there will be war?” She’d overheard her mama ask Papa one evening. They were cast in the light of the open fireplace, snug and close and Kira’s heart hurt in a good way seeing them. She didn’t understand war, only that it was a threat if they’d travelled so far to get away from it.

“There will be conflict. It’s one reason why we’re here, Mepi. For all of us to be safe eventually.” And then they were speaking of their families journeying here as well, as if they could somehow transplant generations into new soil.

Most night’s Kira and her Papa watched movies, the older the better, with a bowl of popcorn and her floppy Ragdoll cat, Totoro, curled between them on the sofa. And it was while they watched The Right Stuff about the space race to fly to the moon, Kira announced, “I want to do that.”

“Do what?” Papa asked.

“Fly to the moon of course!”

For the first time in so long, her Papa smiled. “Okay.” 

What Kira could never imagine was what happened next. One day after school, Kira came home with her Papa except he’d picked her up in the car, which was odd, and they drove down to the beach. Kira loved the sea and she was ready to race out to the water, when her Papa said, “Wait a minute.” He reached behind for a bulky bag, and handed it to her.

“You might want to put this on first to go exploring.”

Kira opened the bag and gasped. Inside was a helmet like she’d seen in the film, except this was light and made from papier mâché, painted a soft grey, along with light-grey coveralls, not quite a space suit, but close. 

“For me?” Kira whispered.

“For you, my space wanderer.” Kira squealed as she shoved her legs into the coveralls, squirming her way to fit her arms and body in, then zipping it up. With her high-top sneakers, she felt a sudden lightness like she could jump in the air and touch the stars. 

Running to the water, the helmet secured on her head, she peered at the sky, awash with pinks and orange along the horizon, her Papa nearby with his camera. 

Leaping from one rock to the next, arms aloft, she couldn’t help grinning, again titling her head to the sky. Papa had said that mama was coming home soon. Kira wondered if she could one day fly them all to that city they’d once called home. Simply lift them to the sky and follow the stars. Or maybe she was the one who would fly away, returning to them, wherever they chose to live.

As the sky deepened and one star blinked to life, her Papa stood beside her, reaching for her hand. “Ready to go home?”

Kira liked the weight of her helmet as it bobbed back and forth. She squeezed her Papa’s hand. “Yes.”

“Tomorrow we can explore that place you noticed with all the abandoned buses.”

Kira had been fascinated how all those empty cars and buses were like a metallic, skeletal landscape, another planet entirely. 

“Will you take more photos?”

Papa laughed. “Of my space wanderer? If you don’t mind. I think Mama would love to see your adventures. That okay with you?”

Again, that lightness, as if all she had to do was raise her arms for wings and she’d be aloft. It felt close to happiness.

Kira nodded, the world suddenly bigger, scary, strange and exciting.                

And she knew she was ready to explore it.

 

(Short story inspired by Melbourne-based Andrew Rovenko’s photographic project The Rocketgirl Chronicles, www.rovenko.com)

© Angela Jooste

A thousand years

Artwork: Photograph by Gus & Lo (@gusandlo)

A poem of love, longing and the shadow of endings written in mid-to-late 8th century Japan by Lady Heguri, and addressed to “Yakamochi”:

A thousand years, you said

As our two hearts melted.

I look at the hand you held

And the ache is too hard to bear.

(source: The Penguin Book of Japanese Verse)

Small stories: Quiet

Artwork: Mural by Elisa Capdevila, L’attente, Bayonne, France, 2023

For when you have

no words

hold fast

to the quiet

echoing inside you

 

© Angela Jooste

 

A Yoshitomo Nara Day

Artwork: Yoshitmo Nara, M.I.A., 2024

Here’s a recent drawing by Yoshitomo Nara, M.I.A (2024). Peace…the world needs it right now.