Monday, 2 November 2015

Getting together after eighteen years ...



In 1997 I got quite close to one of my Macanese female students, whom I actually owe part of my Mandarin writing training to, as we did write to each other in that Language over a period of years.
 
 
Distance kept us apart and despite the fact that whenever students from Macao came over to the Training Centre I used to get information on her and what she was doing then, we never had the chance of seeing each other again until this morning when she walked into the centre as part of  a comittee of Chinese Directors on a training visit.
 
 
 
 
 
 
 













I had known about it for a while and therefore decided to wear a Chinese gown she and her fellow colleagues had offered me then, so as to honour her presence and "revive" a sequence of moments that lasted about one month and which were so important for us at the time.
 
 
It was an emotional getting together, as we reunited and decided to see a lot more of each other whilst we are geographically closer.  
 
 
 
 




 

The latest book I have read ...


I must confess the moment I picked up David Grossman's book Lion's honey, the myth of Samson I wasn't expecting it to bring me so much information on the myth in terms of  its various analysis and a myriad of interpretation perspectives. 
 
It reminded me of the thorough analysis we sometimes had to carry out whilst at University whenever we had to scalp down any given poem, though I am in no way comparing what we used to do with the mastery of David Grossman's.










Ironically as I was watching the National Gallery's documentary film last week one of the paintings being explained to the public was Samson and Delilah by Peter Paul Rubens and as he is seen fallen asleep on her lap the intensity of what is to follow is almost inevitably brewing up in one's mind but more so after having read Grossman's psychological interpretation behind the act of trusting the woman he is said to have fallen in love with, who would ultimately lead to his loss of power.




















The numerous visual interpretations of parts of the myth, such as his fight with the lion by Lucas Cranach, the elder or his pulling of the pillars of the temple of Dagon together have gained a much stronger insight as a result of my reading of Grossman's book, the same being true in regards to the actual representations of the act of having his hair cut anf thus his loss of strength.  





















"(...) what he has discovered about himself , while battling the lion has frightened him: the hidden superhuman power that has burst out and revealed itself to him for the first time has, perhaps also shocked him and created a partition between Samson and his  new larger-than-life self that does not fully belong to the human race."





















"(...) the bond with Delilah did arouse in Samson something totally new, and was not designed merely to satisfy his compulsive need to be betrayed, to experience intimacy that is violated by strangers (...) for the first time in his life, Samson fulfills his independent will by exercising his highest freedom available to him as human being - (...) namely, emotional freedom, the freedom to love. And if, on this part, this was true love, it may be surmised (perhaps only wishfully) that Samson allows Delilah to deceive him again and again because he is hoping against hope that he is mistaken."





















"He, who from birth , indeed from the womb, was exiled in effect from any kind of home ... (... ) who never really belonged either to his own people or to the people into his midst his urges had propelled him. He, who slept with many women but had no child of his own; he, whose umbelical cord had been severed, as it were at both ends that "rests upon" - nachon in Hebrew - two pillars. But nachon also means "proper": at last - how ironic  - bayit nachon, a proper home."







This book is very interesting and really worth reading not only by readers who are into myths but also by those merely curious as to what they are and the implications therewith associated. David Grossman is a great writer who takes us "enthusiastically" along his incredible trip into the Classics.






"In Lion's Honey, David Grossman reaches beyond the calamitous events to conduct a sensitive examination of human motivation ... (...) and the author does it in a most elegant style." - The Times Literary Supplement.


" A feat even the Gods would marvel at ... a glittering pantheon of the most esteemed contemporary writers breathes bright golden light into the world's classic tales" - Vanity Fair
 

"Original and very clever." - The Times











Friday, 30 October 2015

On the National Gallery documentary film by Frederick Wiseman ...


Some months ago Mia and I were tempted to watch the National Gallery documentary film being exhibited at the Saldanha Cinema and the one reason that had me not to do so it was the fact that the film ran for three hours.
 
 
 Despite being an Art lover I felt it might have been too tiring for me to watch, particularly because I am a woman of details and enjoy the process of slowly pondering on certain paintings, which a documentary I cannot stop would not allow me to do.
 
 
I am particularly happy not to have watched it then and to have decided upon buying the film, which has just come out in Portugal once my initial instinct was right and I am now almost certain I wouldn't have liked it as much as I have now, given the possibility of stopping it as many times as I have felt it necessary to.
 

 
 

 
 
 
 












The documentary takes us inside the world of the National Gallery, allowing the Museum to talk for itself, whether by means of the loose displayed scenes of people and people's expressions in the exhibition halls, the guided lectures for the general public including specific ones for children, teenagers and blind people and even the rather boring (yet complementary) budgetery considerations brought out in filmed meetings.











 
 
 
I was equally impressed by the re-touching antique technique Art work that has been included in the documentary which provides an additional perspective as to what the "behind the scene" work connected to an Art gallery, such as this one, is really about.
 










 

I am not surprised it has been among the audience choice awarded films, together with having been nominated for several other awards ... and part of that excellency is owed to the film director.




















"Meticulously crafted, intellectually intricate and touched with profundity. An invigorating portrait. A tribute to the wonder of creative expression." - Village Voice.
 
 
"Truly inspiring (...) it's like being lulled with intelligence." - The Telegraph.
 
 
"(...) There can be nothing ordinary about such an extraordinary place. Furthermore, Wiseman's special gift as a filmmaker has been to show how searching attention reveals that there is really no such thing as ordinariness." - The Boston Globe.
 
 
 
 
 
 

 

Wednesday, 28 October 2015

The latest book I have read ...



I can't help mentioning the fact that as a teenager Vincent Van Gogh's paintings didn't impress me that much and it wasn't until I fell upon his letters to Theo that I started getting a deeper insight as to who he was as a person and thus fell under his spell. From then on I started buying everything that came out about him, from biographies to different book editions that spoke about him or even slightly mentioned him. 
 
 
Jo Van Gogh-Bonger's short biography of Vincent is according to critics the closest one can come to Vincent the man, as seen and referred to by those who kwew him and I have to agree. I felt I wouldn't learn much more about him than what I had already been made aware of throughout these "study" years, but I was wrong and do praise his sister-in-law's efforts to have brought his works and him as a person into the public eye. 
 
 
Amidst several unknown (yet rather interesting) things I learnt a certain Mr. Mendes Costa (undoubtedly a Portuguese origin person), the best teacher in the Classical languages was Vincent's teacher from 1877 through to 1878, together with having come across some painting reproductions I had never seen before, dating back to 1884/87  and more specifically those made in Cuesnes and Asnières.
 
 
I believe any Van Gogh lover will be happy to read this 187 page book I have read in two consecutive nights.
































"Vincent impresses me as somebody who stands in his own light." - Reverend Mr. Pietersen


"Vincent craved a deeper understanding of his innermost self."








Note: the last two pictures are not from Jo Van Gogh-Bonger's book.









 

Monday, 26 October 2015

The latest film I have watched ...


We, Mia and I, decided to sellect the Wolf Totem as the Saturday afternoon film based on its trailer and we must confess we were not disappointed ... as it did in fact exceed our expectations.
 
Based on a semi-autobiographical  award winning Cultural Revolution novel written by Lu Jiamin in the sixties and said to be the second most read book in China, it has been adapted to the cinema by the producer Jean-Jacques Annaud together with a Chinese crew from China Film Group, in a rather controversial turn of events, once he is considered a persona non grata in China and  his film Seven years in Tibet has been  and still is forbidden in there.























Set in inner Mongolia the film touches quite a few important issues which have to do with the advancing turmoil of the so called civilization as against the nomads' tradition, the ongoing fight and strategic approaches carrried out between humans and animals, in this particular case packs of marauding wolves, the co-habiting of residents and "invaders" ... acknowledging one's limits ...






















 
 
 
 
 
 
It will be competing for the Foreign Language Film Oscar, so I heard, amidst what turned out to be another controversial issue. Without knowing the other competing films I'd say it has been well chosen and will certain please a much wider public than all of those who have already had the chance of watching it. 
 
 
 
 
 
 
 
 

The latest book I have read ...


I believe Albert Espinosa's books are almost always selected as good readings because they are inspiring and "down to earth" type of books, based on his personal experience as a cancer survivor, espite not being autobiographies. 
 
 
I have never come across any of his books in the original Language, having fallen upon a French version this time - Le Monde soleil, which I found to be rather interesting and "eye opening" at times. This particular book hints at different perspectives to see life and nourish oneself withthe lessons one may or should have learnt from both good and bad moments.
 
 
It made me go through some of my personal moments in retrospect and "analyse" them under a different light, not to mention to have a slightly "wiser" approach to those issues that still linger on.


I could have easily copied down a few extracts, though I have chosen to include a mere five, one of which (the one related to the solitary act of masturbation) may be misleading ... but any of them is "food for thought". 









"Dans la vie, le plus important c'est de savoir dire "non" et accepter les "non"."
 
 
"Pour se tromper, il faut oser; le résultat n'est que sécondaire."
 
 
"Trouve ce que tu aimes regarder et regarde le (...) ce qui est important, ce n'est pas tant ce qu'on regarde mais ce qu'on en retire."
 
 
" Ce qu'il faut retenir, c'est que la mort n'existe pas. Quand quelqu'un meurt, son souvenir demeure, (...) il ne faut jamais associer la mort à la douleur ou à la perte (...) c'est dificille, mais c'est possible."


"Nous ne sommes vraiment nous mêmes qu'après nous être masturbés."








 

Light effects - Adriano de Sousa Lopes - temporary exhibition at Museu do Chiado, Lisboa - The 25th of October 2015


Some years ago I came across a portrait painted by the Portuguese artist Sousa Lopes that really impressed me - The Blue blouse, and this is what has led me onto venturing out  to Museu do Chiado on a greyish and rainy day to finally be able to see a temporary exhibition on the ensemble of his oeuvres. 


Adriano de Sousa Lopes is known to have been a notable painter and one of the very few Portuguese artists to have experimented an impressionist type of approach in the numerable episodes of Portuguese history, the maritime and rural daily routines aa well as the reality and myths he dipicted in his canvases.
 
 
Having been the only offical artist pertaining to the Portuguese expeditionary Corps during the great world War some of his sketches and paintings provided a rather moving documentary of what happened in the trenches of Flanders, that wouldn't have otherwise been unveiled but in written form.
 
 
I was particularly impressed by the portraits, especially the ones of his wife, Margerite Gros, as well as the war picutres and those dedicated to the sea life and landscapes.
 
 










The lovers' alley (oil on canvas study) - 1908 (left). The Undines (Heine) - 1908 oil on canvas (right).




















A 1909 oil on canvas Portrait of Mrs Hermine Landry (left). Portrait (pearls and violets) - oil on canvas -1909 (right).







 
 
Daffodils - 1909 oil on canvas (left). The effect of light - 1914 oil on canvas (right). 
 
 
 
 
 
 


The blue blouse - 1927 oil on canvas



















Portrait of Mrs Sousa Lopes - 1927 oil on canvas (left). Malicious expression - 1920 carcoal on paper (right).






















Homesick - 1917 watercolour on paper (left). Surrender (study) - 1918 oil on canvas (left).






Soldiers at Fauquissart - 1918 charcoal on paper.



















Sails - 1927 oil on canvas (left).












Sea landscape - 1924-30 oil on canvas (left). Sea effect - 1922-26 oil on wood (right).






Algerian patio - 1925 oil on wood.




Definitely a worthwhile exhibition ...