And now for something completely different....
Last Thursday, i stopped at the British Museum to see Shunga: sex and pleasure in Japanese art. I thought that Thursday would be a good day for a quiet visit. Wrong! It was the kind of crowd in which you have to stretch your neck in unnatural directions to read the descriptions of the works and wait patiently behind several people before you can actually approach a print. When finally you're in front of the work and have had a good look, you want to turn and walk to the next window but you're blocked by the people waiting and staring behind you. And no, they won't move lest they loose their spot in the queue.
My visit was thus laborious but i liked the show so much i'll have another try (a Tuesday morning when the doors open? a lunch time?)
Produced in Japan from 1600 to 1900, Shunga (or "picture of spring", spring being an euphemism for sex) are erotic paintings, prints and books that were used for personal stimulation and for the education of young lovers.
Make no mistake: this was art, not what we'd now call "pornography". In fact, the works were regarded as a suitable gift to brides on the eve of their wedding or to official foreign visitors. Unaffected by the inhibited sexual attitudes of Christianity or Islam, Shunga presented a fantasy world of sexual delight enjoyed by both sexes. The sense of sin didn't have a place in shunga. But female pleasure, tenderness and beauty did.
The genre flourished even when it was officially banned and many works were in fact produced by some of the country's most distinguished artists. The decline of shunga is attributed to the arrival of Western culture and technologies at the end of the 19th century and in particular the importation of photoreproduction techniques. How could Shunga compete with erotic photography?
In Japan, however, the influence of shunga can still be seen in manga, anime, tattoo art and other popular cultural forms.
I got the following photos from the British Museum press office. Unsurprisingly (but disappointingly), the ones i received were quite tame compared to most of what you can see in the show:
Shunga: sex and pleasure in Japanese art is at the British Museum, until 5 January 2014.
Keep Your Timber Limber (Works on Paper) explores how artists since the 1940s to the present day have used drawing to address ideas critical and current to their time, ranging from the politics of gender and sexuality, to feminist issues, war and censorship.
As the title implies, there's nothing sheepish nor restrained in this show. It displays male superheroes ready to spring into action while wearing restrictive feminine outfits, muscular cavemen ogling one another and men of religion ejaculating on themselves. The appropriate opening for the exhibition is thus Fucked by Numbers, a 8 metre long graffiti of a penis firing a US flag. Numbers being scribbled around the phallus to details the statistics of the US wars in Iraq and Afghanistan. How many died, how many refugees, how many dollars spent, how many US army veteran suicides, etc.
Judith Bernstein's work is a contemporary version of an image she first made in 1967, to protest the war in Vietnam.
In case the Brits feel left out by the artist's disapproval, the Union Jack-Off Flag, with the words 'Jack-off on US policy in Vietnam' awaits the visitor on the other side of the wall.
If Bernstein's drawings bring the spotlight on male urges to display power and to destroy, Cary Kwok's work looks at male vulnerability at the moment of orgasm.
I was amazed by Kwok's blue biro drawings. But i can't remember having ever been so felt so embarrassed when watching some artworks.
The drawings of Touko Laaksonen, aka Tom of Finland, played an important role in popularizing gay culture. His depictions of homosexual encounters are jolly, humorous and carefree and that's precisely what made them revolutionary. Before him, homosexuals were represented as sad, pervert, dirty and clandestine men. Tom of Finland clad them into police or sailor uniforms, leather outfits and lumberjack attires -that would later be seen on the member of the disco group Village People- and let them frolic in woods and changing rooms.
In an interview with Charlie Porter, Curator Sarah McCrory says that Marlene McCarty has been looking at women who work with primates and their relationships that have broken beyond ethical and moral boundaries. Women who have been looking after apes and let them sleep in their marital bed, either as if they were children or in different ways. She's looking at confusion within sexual roles.
"My hominid images are all also based on true-life narratives of intense relationships between humans and apes", the artist further explained. "I'm interested in the idea of hybridization (a term used in the study of evolution to indicate those gray areas where one 'species' interbred with another). The process of evolution has been cleaned up for our basically Calvinist/Puritan Western thinking. We uphold very clear distinctions of various species (especially our own) as they've developed from one another, but what doesn't really get talked about is that sometimes one species would begin to appear alongside another and there was most probably interspecies breeding. (Example: Homo neanderthalensis more than likely bred with Homo sapiens, although most schoolbooks would simply present them as one following the other.)"
Keep Your Timber Limber might well be one of my favourite shows in town this Summer. I will however agree with the ever grumpy Adrien Searle when he writes that some of the artists don't quite fit into the show. The fashion illustration of Antonio Lopez seemed a bit meek in the exhibition context and i couldn't quite see the point of adding one drawing by George Grosz that shows over-fed members of the bourgeoisie followed around by skinny figures.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM is aired tonight.
Zoe Papadopoulou is an artist whose work looks at emergent technologies and speculates on their future uses to help the public imagine and discuss what these innovations might hold for us in the coming years. In the past, Zoe has baked nuclear cakes, sold ice cream flavoured clouds and drafted the merger between the island of Cyprus and Intel corporation.
But the work we are going to focus on today is called Reproductive Futures. Zoe has spent the past year on a project sponsored by the Wellcome Trust exploring the scientific and technological developments in Artificial Reproductive Technologies. She particularly looked at questions such as "Will the techniques themselves have the potential to fundamentally change the way we perceive parenthood and reproduction? How will the stories we tell children evolve?" Her research will take the form of 3 books that address different scenarios of future reproduction through children's stories.
In the show, we will be talking artificial uterus, the orphan child who had 5 parents, artificial gametes, and premature babies exhibited in freak shows.
The show will be aired today Thursday 31st January at 19:30. The repeat is next Tuesday at 6.30 am (yes, a.m!) If you don't live in London, you can catch the online stream or wait till we upload the episodes on soundcloud.
All images courtesy of the artist.
Ledare is famous for being one of the very few contemporary artists who still manages to shock and break taboos. His most famous series was shot over a period of 8 years and stars Tina Peterson, his own mother. Posing gleefully for him in négligé, naked or in fur hat. In sickness and in health. Flirting with the camera (or maybe the man behind it), masturbating, having sex with men the same age as her son, etc. One moment she is defiant, powerful and utterly stunning. The next, she's chubbier and wearing a brace around her neck.
The opening work of the exhibition doesn't pull any punch. Right at the entrance, there is Alma, a very L'origine du monde portrait of the mother laying on her bed, all porcelaine skin and spread legs. Alma is the name of the 3 year old girl who was given the photo to scribble over. Being so young, the child was deemed too innocent to read anything suggestive in the photo.
The photos are accompanied by hand written lists of the kind of men his mother met through personal ads in newspapers (the "Gonzo porn king", "the horni rabi", "the feisty fireman", etc.) or of the "Gifts mom has been showered with". Each list along with the letters, videos, souvenirs, vintage photo sinks further into the intimacy of the woman.
The mother seems to be present in other series, even when she doesn't appear on the image. For The Collector's Commissions, Ledare contacted collectors and asked them to photograph him, in the setting of their choice. But the photographer adopts the position that his mother would normally take on those portraits.
In the series Personal Commissions, Ledare answered personal ads from women whose desires echoed those of his mother's, and paid them to photograph him in their apartments, he lets them direct him and chose the scenario. Ledare doesn't see these works as portraits of himself but rather as individuals portray of the ladies who photographed him. Just like he regards people's interpretation of his relationship with his mother as telling more about the spectator than about himself.
The show contains more series than i'm covering here: works by Larry Clark and other friends of Ledare, portraits of Ledare'ex-wife by both himself and her new husband, portraits of an anonymous wealthy lady who hired him as her 'erotic photographer', etc.
These distinct but related bodies of work are studies not only of their visible subjects, but also of photography itself: how it mediates identity, relationships, love, loss, and, perhaps above all, human vulnerability. They are also indexes of the relationships of the artist with others - mother, family members, ex-lover, collectors, anonymous patrons, etc. - which, from the start, have played a central role in Ledare's work.
Previously: Leigh Ledare at Guido Costa Projects in Turin.
Strange Hungers was a pulp fiction book from 1963 set on the island of Haiti where the notorious Ah Sing and Mei Lai conduct pagan love rites! It is also the title of an exhibition that made me laugh out loud when i visited it a few days ago.
Sadie Hennessy - Strange Hungers delves into the mysterious workings of desire, and the insistent lusts and yearnings of the sexual appetite.
Hennessy's prints, collages using vintage housewives magazines, sculptures that adorn mundane object with sexual innuendos are relentlessly campy and witty.
This is the shortest review i've written in a long time. But i don't feel like adding any gravitas to the images below.
Sadie Hennessy - Strange Hungers is at the WW Gallery until 14 July 2012.
Japanese love hotels go out of their way to satisfy the most outlandish fetish: some rooms offer the feeling of being inside a subway carriage, a class room, or a Hello Kitty SM room, others locks you into an alien abduction nightmare (/dream).
Ai Hasegawa, second year student in Design Interactions at the Royal College of Art in London, proposes to close loving couples into an even more extraordinary fantasy.
Her Extreme Environment Love Hotel simulates impossible places to go such as the Earth of three hundred million years ago (during the Carboniferous period), or the surface of Jupiter by manipulating invisible but ever-present environmental factors, for example atmospheric conditions and gravity.
Our bodies would survive if we were propelled back to the Carboniferous period but they would need to adapt if we'd stay over long periods of time. It is estimated that during that time, the peak oxygen content of the atmosphere was as high as 35%, compared to 21% today. This oxygen level resulted in insect and amphibian gigantism--creatures whose size is constrained by respiratory systems that are limited in their ability to diffuse oxygen. For example, the ancestor of the dragonfly, the Meganeura, grew up to seventy-five centimeters due to the huge concentration of oxygen in the air.
Life on Jupiter doesn't sound very pleasant for us either. The atmospheric environment of the largest planet within the Solar System is one of strong gravity, high pressure, strong winds, and extremely cold temperatures.
How might our bodies change, struggle or even adapt with varying conditions around us?
The first of Ai Hasegawa's Extreme Environment Love Hotel room, the carboniferous one, is currently on view at the work in progress show of the Royal College of Art. The prototypes show how couples would have to carry a suitcase containing higher levels of oxygen that recreate the atmosphere of the Carboniferous period, they would also be surrounded by plants similar to the ones that proliferated in the warm and humid climate: large trees covered with bark and huge ferns growing in swamps.
The designer's work is of course a bit eccentric but it also propose to reflect on how making love inside an Extreme Environments Love Hotel room might give rise to new evolutions and mutations of the human body and sex and give it a brand new role away from our biologically-programmed needs and inclinations.
Why did you decide to explore new frontiers in Love Hotels?
Love hotel is a utopia to serve the people's dream and fantasy.
We are able to go to space or have a hyper gravity experience at NASA , but that is only for chosen people, the rich or some elites.
A love hotel, however, is opened to all adults. I could have worked on a 'Fun fair/ amusement park' type of attraction, but these gives us only short time experiences that don't last more than 5 minutes.
I wanted to have an experience longer than a funfair ride, an experience that would last until our body could feel slight changes and adapt to them. You can stay at the hotel for one hour, for a week or a year. Also sex is a hard form of exercise, and a "love" hotel is the perfect place to challenge the limit of our body in extreme environmental conditions.
Also from critical point of view, Love hotel is designed for sexual urge. It is a place for desire and pleasure, probably not for love nor reproduction.
I feel sex isn't motivated solely by life instinct, by the need to reproduce and make our species survive. Sexual urge can make us take some life-risking actions such as HIV infection.
I wonder if our DNA might need to be modified in order to redesign the strategy of reproduction... In other words, why not have some evolutions?
To trigger evolutions, we might want to use a technology to modify our DNA, of course. But before that, we need to study our body potentials with basic elements, invisible factors, such as atmosphere, gravity, temperature, electromagnetic waves, etc. We need new environments, new frontiers.
I chose places where 'we are not able to go to' for a romantic or melancholic reason. We don't have any strong reason to go to Jupiter. Moreover, we are able to have a time-trip to the future (possible in theory, but it's only a one-way trip), but not to the past (the theory hasn't been proved yet, i think). The love hotel would be the ideal place to serve such dreams and fantasies.
What does their body risk if the lovers keeps the breathing mask for a long time?
There is no risk. If healthy people breath 100% oxygen for long time, they would have lungs problem, but this Carboniferous portable room portable supplies only 35% oxygen under usual atmospheric pressure. A real chamber, thus not the "portable" version will be higher atmosphere, but still it will be fine. This real chamber will be similar to Hyperbaric medicine. It would probably be slightly easier to breathe and recovering energy would be faster than usual in this room.
You're also working on a Jupiter room. What will it be like? And feel like?
Customer might need to wear a harness to support the weight, they might also need to wear a bone protector, just in case. You have to be careful with the position you chose. If you want to adopt a 'woman on top' position, then your body might be too heavy to climb up. Besides, the man's hipbone might break under the weight. But if you stay for a week or a month, maybe after a while your body will adapt and become more masculine.
In a Hotel room, you also need to have a toilet and a shower. The water in the Jupiter room would fall 2.35 times faster than usual. One day lasts only 9 hours and 55 min in this room.
If you want, you might probably be able to make a baby under the hyper gravity...
Check out The Extreme Environment Love Hotel: Carboniferous Room at the Student Work-in-Progress Show, Royal College of Art, London. The exhibition end on Monday afternoon.