The week in review
Look! Stengade 30, the by now legendary Copenhagen club, locus of Rubadub Sundays for the past decade, has new facade decoration. Executed by SOFLES, it’s perhaps somewhat tacky, but certainly spectacular, fitting the club well. Imagine it nightlit in a haze. Flix courtesy of Frederik Høyer-Christensen, full set here.
Last week saw the passing of filmmaker Chris Marker. I’m not that familiar with his work, unfortunately, but what I have seen I found touching on a kind of “pure cinema” level, where the elements of film come together to create something unique to the medium, achieving the kind of lyrical no so che that happens way too rarely in cinema. Very different, to be sure, but similar to the best moments of Andrei Tarkovsky’s work.
I know, it’s been ages, but I’ve finally written a new installment of my column DWYCK over at The Hooded Utilitarian. This time, I draw upon the great Degas exhibition at the Royal Academy last year to discuss the artist’s inquiry into time, space, and movement and its relation to comics. Go, read.
Above: Edgar Degas, Grande arabesque, Time One, Two, Three, c. 1880-85.
The week in review
James Holmes who killed 12 people and wounded 58 last Friday at the midnight screening of The Dark Knight Rises in Aurora, Colorado was quickly christened the ‘Batman Killer’ in Danish media. Just one of those shortcuts the tabloids trade in, I suppose — it’s far from clear whether the gunman chose what movie to shoot up because of its content and it is, of course, a moot question to ask of such a tragedy.
If anything, one might ask the whether it makes any sense at all that 100-round drums for full automatics can still be ordered on the internet, no questions asked. Or why this statistic, which speaks volumes as to the causality between gun ownership and gun fatality, remains acceptable for Americans.
For somebody familiar with Dark Knight director Christopher Nolan’s comics sources, it seemed at least a little bit poignant that Frank Miller anticipated the Aurora massacre in the seminal Dark Knight Returns (1986). Appearing in a sequence detailing Batman-inspired vigilantism, it is to Miller’s credit that he here mocks the media’s tendency to jump to conclusions about the causality between fictional and actual crime, while clearly acknowledging that it exists.
By Johan F. Krarup
So much has been said about Israel and Palestine — the most hyped conflict in the World — that I started reading Guy Delisle’s new travelogue, Jerusalem : Chronicles from the Holy City, with some trepidation. Would Delisle’s trademark quotidian, low-key journalism work in Jerusalem, the Gordian knot of Middle East conflict? Would his often lively and entertaining, but just as often predictable and chit-chatty approach offer a interesting perspective on the subject? Surprisingly, the answer is YES!
Guy Delisle reported in comics form from various points of interest around the world. Lately, this has been thanks to his wife who works as a coordinator for Doctors Without Borders. Delisle follows her as a dependent, taking care of the kids and ensuring that family life runs smoothly while his wife is a work. He takes this opportunity to work in his sketchbook as often as possible. He has previously done a book on Burma (2007) in this way, while his two books prior to that, Shenzen (2000) and Pyongyang (2003), were the result of his own travels liaising on international animation projects. The present book, however, works his position as the empathetic family man to significantly greater effect, creating what is without a doubt his best comic so far.
At the Roskilde Festival I had the pleasure of interviewing one of the up-and-coming stars of Southern hip hop, Big K.R.I.T., who blessed the festival with an awesome concert on Sunday afternoon, closing the show after his country cuzzin Yelawolf had torn up his part of the program. A great afternoon. Check out the interview, filmed and edited by Kenneth Nguyen for Rapspot, above and visit K.R.I.T.’s website where you can download several of his mixtapes for free.
And keep checking for him. It’s great hip hop music, going places.
The week in review
The drive for new Caravaggios continues unabated, it seems, with the hard to believe recent attribution of about a 100 drawings and ten oil paintings from the Castello Sforza in Milan that once belonged to Caravaggio’s master Simone Peterzano. They were just published on the web by Art historians Maurizio Bernardelli Curuz and Adriana Conconi Fedrigolli as having been executed by the baroque master. Needless to say, this would be sensational of true — no drawings by Caravaggio are known.
However, Caravaggio is rivaled perhaps only by Leonardo among artists who attract frivolous claims of sensational discovery, which come at a clip of about one a year or so. This, however, is unusually aspirational. Although Caravaggio is described in the sources as an artist who didn’t draw, working exclusively “after nature,” he is likely to have drawn at least a little, but it is still hard to believe that so many of his youthful drawings should have been in the possession of his master and have been hiding in plain sight for the better part of a century.
As Stefano Boeri from the Milan Culture Center says in this clip, the collection has been known to scholars since the collection was acquired by the municipality in 1924. Although there have been speculation about certain individual pieces, no one before has given this large a section to the master.
I haven’t studied this collection, but merely from looking at the few drawings filmed in the clip and in the promotional video at the site launched in support of the claim, it strikes me as highly unlikely that even those are by the same hand and none of the eclectic selection shown looks remotely to be of the quality of the early paintings used for comparison.
I suppose every proposal deserves a hearing, but this looks aspirational to say the least.