A THOUSAND WORDS - Alex Waterhouse-Hayward's blog on pictures, plants, politics and whatever else is on his mind.




 

Jean Swanson - Voting is a Privilege & a Duty
Saturday, October 20, 2018



Jean Swanson


Voting for me is a privilege that I do not take lightly. Because I was born in Argentina upon reaching the legal age of18 while living in Mexico City and in Austin, Texas it never occurred to me to vote via absentee ballot. In those years, the late 50s politics was of no importance to me.

Then I suddenly became patriotic and I traveled to Buenos Aires in 1966 for my two year conscription in the Argentine Navy. The law then in Argentina was that those in the military could not vote.

But I did “vote” in a way I would have never predicted. I was sent with a contingent of sailors, soldiers and airforce conscripts to surround the Casa Rosada on the 28th of June 1966. The officers in charge gave the freely elected (and very honest country doctor) Arturo Illía an hour to leave. He went home in a taxi.

The next day the junta abolished the Argentine Constitution that I had sworn to defend months before in a lovely ceremony, the political parties and pretty well declared an emergency.

Then for many years I was not able to vote because the government in my country was a dictatorship.
By the time I arrived in Vancouver I had little respect for politics. But once I became a Canadian citizen my viewpoint changed. Since then and thanks to my jobs with magazines I was able to meet and photograph many of the politicians of this country.

I fondly remember going to a local meeting at a community in which John Turner, who was running for prime minister, was the speaker. We were served coffee and doughnuts.

Today my Rosemary and I walked two blocks to vote for Vancouver municipal elections. We were met by a pleasant man wearing a loud tie and a huge smile welcoming us in. I could not have begun to explain to him that in my former country and in others in Latin America the voting places would have had soldiers with machine guns outside. The whole process was smooth and free of bureaucracy.

I believe that some members of my family have never voted. Perhaps someday they will come to understand that voting is a privilege not often had anywhere else. And it is an obligation, too.

While I don’t particularly want to tell anybody whom I voted for (that is most personal) I will make one exception. Years ago I met Jean Swanson and I was most impressed by her when I took my photograph.

I voted for her and I will drop one more hint, my Rosemary and I voted most feminist.



Nostalgia de Norte a Sur - a modo de cadáver exquisito
Tuesday, October 16, 2018


Blog con el invitado crítico de arte - Fernando Velazco
La muestra en la Galería Vermeer cierra el viernes 19 de octubre 2018




Sánchez, Patrich y Waterhouse-Hayward: la nostalgia como fuente del arte


Desde el 20 de septiembre se exhiben en la mítica galería Vermeer (Suipacha 1168) cerca de 40 obras colaborativas e individuales de los tres destacados artistas argentinos.
En los anales del arte argentino el nombre de Juan Manuel Sánchez (1930-2016) estará por siempre asociado al movimiento Espartaco (1959 – 1968), aquel que a través de un muralismo autóctono pero también de la utilización de medios, soportes y temáticas diversas promovieron la unión indisociable entre arte y compromiso social. Luego de su exilio durante la última dictadura militar, la trayectoria artística de Sánchez se expande, y un nuevo público logra acceder a su obra gracias a los murales realizados en los dos países donde se radica: primero España, luego Canadá. Es en este último país, más precisamente en la ciudad de Vancouver, donde se produce uno de los períodos menos conocidos y a la vez más inspirados en su vida artística, fruto de la colaboración con dos de los más grandes artistas de esta época con los que comparte también su lugar de nacimiento: la artista visual Nora Patrich (que además fue su mujer) y el fotógrafo Alex Waterhouse-Hayward. Parte de este trabajo producido a comienzos de este siglo se expone por primera vez en Argentina bajo el nombre de “Nostalgia de Norte a Sur” en la mítica galería Vermeer (Suipacha 1168).

 Compuesta por 38 obras, la mayoría de ellas corresponden a “colaboraciones” entre los tres artistas (dicho término en español es utilizado en el blog de Alex Waterhouse-Hayward escrito enteramente en inglés). La muestra también se propone abordar el trabajo en solitario del reconocido fotógrafo argentino-canadiense, siendo éste su debut en una sala porteña. A su vez, las imágenes de Waterhouse-Hayward constituyen el hilo conductor que unen el trabajo de los tres creadores ya que son la única constante a lo largo de la exposición.



Cabe destacar que algunos de los trabajos colaborativos formaron parte de una exhibición en Vancouver a comienzos de este siglo en la Simon Patrich Gallery bajo el nombre de “Argentine Nostalgia”. El nuevo título, “Nostalgia de Norte a Sur”, deja en evidencia que la nostalgia que los tres artistas intentaron exorcizar a través de sus obras viene de muy lejos, de una punta a otra del continente.

El primer grupo de obras responden a trabajos realizados a partir de fragmentos fotográficos. Es decir, que la imagen elegida al azar por Waterhouse-Hayward es el germen del que nace la inspiración de Juan Manuel Sánchez y Nora Patrich que continúan la misma a modo de cadáver exquisito. Se destaca la serie compuesta a partir de fotos del cielo raso de la Vancouver Public Library: “Un libro y una flor” (Sánchez/Waterhouse-Hayward) y “Por los Ojos” (Patrich/Waterhouse-Hayward). En la primera, Sánchez hace uso de tres de estas imágenes para crear el conjunto de estambres de una flor en las manos de una de sus emblemáticas figuras femeninas. Por su parte, Patrich las utiliza con el fin de crear los ojos de un rostro femenino. No es de extrañar que sea la mujer el eje central sobre el que giran estos trabajos. De hecho, constituye la conexión más fuerte en la producción artística individual de los tres artistas. Sin embargo, en este punto uno podría preguntarse si solamente se trata de una nostalgia por las mujeres argentinas. En realidad, es mucho más expansiva pero sólo a través de ellas se proponen evocarla. Tal es el caso de “Doña Flor” (Patrich/Waterhouse-Hayward), que deja atrás el surrealismo de las obras anteriores. Desde un fragmento fotográfico de la parte frontal de un cuerpo femenino con un abanico colorado, Nora Patrich imagina y compone el resto del cuerpo. El título alude a la famosa novela de Jorge Amado y podría suponerse como una alegoría entre el pasado perdido y el futuro ineludible y de la convivencia de ambos tiempos en uno. Es al menos una de las lecturas que pueden realizarse ya que la búsqueda de la nostalgia argentina en cada obra resultaría una tarea inútil. En primer lugar, esta añoranza constituyó el motor por el cual tres artistas argentinos se reunieron en la otra punta del continente para trabajar juntos.



Las mujeres son también el centro del segundo grupo de obras expuestas: las fotoperformances.  Se sabe que frente a un hecho artístico efímero la fotografía ocupa un lugar destacado, ya que actúa como testimonio vivo de una acción que sólo puede sobrevivir a través de su documentación. En el caso particular de las fotoperformances, la fotografía pasa a ocupar un lugar importante en el proceso creativo, debido a que se trata de acciones artísticas que fueron realizadas con el fin de ser fotografiadas y de esta manera perdurar en el tiempo. A diferencia de Yves Klein que cubría el cuerpo de sus modelos con su famoso azul para que dejaran su huella corporal impresa sobre el lienzo, las modelos de Sánchez, Patrich y Waterhouse-Hayward están pintadas como sujetos extraídos del lienzo. Estas pinturas vivas se destacan además porque se puede apreciar el trabajo en conjunto de los tres artistas. Por ejemplo en “Julia”, donde Sánchez aparece junto a una de sus modelos, “Santosantas”, también conocida bajo el nombre de “Santas Conchitas”, donde los modelos representan a una santa pagana, y “Carmencita e Itzel”, cuya impresión sobre una cartulina plateada le otorga tres dimensiones.

Por otro lado, la nostalgia ocupa un lugar más consciente en las fotografías individuales de Alex Waterhouse-Hayward. Con excepción de sus icónicas imágenes de Liv Ullmann y Werner Herzog, todas ellas evocan diferentes hechos, lugares y objetos de índole nacional y expresan un mismo sentimiento por la patria añorada. Obras como “El diván psiquiátrico” (intervenida por Nora Patrich), “Los Granaderos”, “Recoleta”, “Alfonsina y el mar” y “El Hornero”. Es importante mencionar el hecho de que algunas de las historias detrás de estos trabajos pueden encontrarse en el blog del fotógrafo (alexwaterhousehayward.com) que funciona como una suerte de epígrafe ampliado.

Para terminar es menester regresar a la trayectoria artística de Juan Manuel Sánchez. Es posible que uno tienda a pensar en estos trabajos realizados a partir de la experimentación artística como un alejamiento a los postulados espartaqueanos que pretendían construir un arte social meramente revolucionario, con una marcada presencia de sus raíces argentinas. Sin embargo, es preciso recordar que el Grupo Espartaco también apoyó la experimentación artística a través de acciones, conferencias y afiches. Y después de todo, ¿acaso no es la nostalgia parte de la idiosincrasia argentina?








Yarilo's S'Wonderful Rhapsody in Blue
Monday, October 15, 2018





After a two week stay in Buenos Aires with my Rosemary I felt nostalgia for it as soon as we returned to Vancouver. While there, my friend Fernando Velásquez who works at the Teatro Colón offered us two tickets. We were short on time so I declined his kind offer. The music played by the Orchesta Sinfónica de Buenos Aires was a program of 19th century music that did not excite me.

Much is said about how boring Vancouver is and how it is a cultural wasteland. Those who have this opinion perhaps do not get out at night to explore what our city has to offer.

Consider the Yarilo Contemporary Music Society’s program last night at the Orpheum Annex which was the third and last of a series commemorating the 75th anniversary of the salvation of Bulgarian Jews.

Many Bulgarians were in attendance including one of the performers, Kristian Alexander who plays and played a mean jazz piano.



Had jazz enthusiasts been informed of this concert (sadly our conventional media radio, TV and newspapers are in sad decline) they would have enjoyed one of the best ever (that I have heard) renditions of Gershwin’s Rhapsody in Blue. The folks from Yarilo with pianists Jane Hayes, Anna Levy and clarinettist François Houle combined Gershwin’s orchestration for two pianos with one for piano and clarinet.



François Houle answered my question 1:30 PM:

Did you people combine the two piano version with the one piano and clarinet version of the Rhapsody? Not too important but I am about to write my blog and would like to have my facts straight and accurate.
3:45 PM

Kinda. There are all sorts of arrangements of the rhapsody. We just basically assigned the main themes to the instruments available.  The iconic clarinet lines played on the clarinet, obviously, but also some of the brass and other various parts were spread around the three pianos and the clarinet...

If you consider that perhaps one of the best reasons to listen the Rhapsody in Blue (up there with Ravel’s part for trombone in his Bolero) is the dazzling clarinet beginning, imagine having the clarinet being a sharing star with two pianos!

But that was not all. Behind the two Steinways there was another piano (Kristian Alexandrov), a set of drums (Joel Fountain) and a stand-up bass (Brent Gubbels). There was also a dashing blonde wearing a pair of black pumps that made me feel 30 years younger.



This quartet at certain sections of the Rhapsody (the explanation for the method used “a re-envisioning” taken care  by Alexandrov) would subtly come in (as the two pianists and clarinets went silent) to play five Gershwin classics: Summertime, They Can’t Take That Away From Me, Someone to Watch Over Me, S’Wonderful and I Got Rhythm. Except for I Got Rhythm where Houle sat in an improvised on the tune, the other songs were performed by Shannon Gaye whom I noticed had a stellar talent in placing her microphone so that her singing was sweet (when it needed to be) and big (when that was the case). Summertime to me seemed fresh not only because of her singing but because I was dazzled by Alexandrov’s jazz piano.



Opening the program (and in honour of all those Jewish composers of Broadway and not Broadway) was Paul Schoenfield’s 1990 Trio for Violin, Clarinet and Piano. It had a generous amount of Klezmer sound and I felt that at any moment I would stand up and attempt to imitate (out of context as it is Greek!) Anthony Quinn in Zorba the Greek. It was here that I noticed Houle's lovely clarinet, a rich brown with golden keys. My friend alto saxophonist Gavin Waker (who knows almost anything as if he had known of this concert he would have been there) told me a local man makes these clarinets.

For me just about any concert in Pyatt Hall (not far from the Annex) and the Orpheum Annex are always rich in sound, intimace, surprise and wonder.


Joan Blackman, Jane Hayes, Anna Levy and François Houle

If only my folks at the Colón would take notice as well as those in this city who say it is boring.

I had but one disappointment, Jane Hayes Steinway escaped unscathed the evening’s performance. Hayes will never let me forget (and I thank her for this) that the piano is an instrument of percussion.

My apology to fine bassist (and singe,  too!) Brent  Gubbels that from my seat he was always blocked from my view.








Kristian Alexandrov


Shannon Gaye & Kristian Alexandrov

Jane Hayes






     

Previous Posts
My Photographic Lineage With Lisa

Remembrance - Not

The Potentiality of a Rosebud

The Darkroom & the Glove

Beauty in Fall Decay

A Post-Halloween-Pre-Christmassy-Rant

No Tigers, Clowns or Brass Bands - Backbone a Circ...

Béatrice Larrivé - a Ghost at the Vancouver Playho...

Costumbrismo - Laurence Gough, Mario Vargas Llosa ...

Alex - the Serial Bombmaker



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5/20/12 - 5/27/12

5/27/12 - 6/3/12

6/3/12 - 6/10/12

6/10/12 - 6/17/12

6/17/12 - 6/24/12

6/24/12 - 7/1/12

7/1/12 - 7/8/12

7/8/12 - 7/15/12

7/15/12 - 7/22/12

7/22/12 - 7/29/12

7/29/12 - 8/5/12

8/5/12 - 8/12/12

8/12/12 - 8/19/12

8/19/12 - 8/26/12

8/26/12 - 9/2/12

9/2/12 - 9/9/12

9/9/12 - 9/16/12

9/16/12 - 9/23/12

9/23/12 - 9/30/12

9/30/12 - 10/7/12

10/7/12 - 10/14/12

10/14/12 - 10/21/12

10/21/12 - 10/28/12

10/28/12 - 11/4/12

11/4/12 - 11/11/12

11/11/12 - 11/18/12

11/18/12 - 11/25/12

11/25/12 - 12/2/12

12/2/12 - 12/9/12

12/9/12 - 12/16/12

12/16/12 - 12/23/12

12/23/12 - 12/30/12

12/30/12 - 1/6/13

1/6/13 - 1/13/13

1/13/13 - 1/20/13

1/20/13 - 1/27/13

1/27/13 - 2/3/13

2/3/13 - 2/10/13

2/10/13 - 2/17/13

2/17/13 - 2/24/13

2/24/13 - 3/3/13

3/3/13 - 3/10/13

3/10/13 - 3/17/13

3/17/13 - 3/24/13

3/24/13 - 3/31/13

3/31/13 - 4/7/13

4/7/13 - 4/14/13

4/14/13 - 4/21/13

4/21/13 - 4/28/13

4/28/13 - 5/5/13

5/5/13 - 5/12/13

5/12/13 - 5/19/13

5/19/13 - 5/26/13

5/26/13 - 6/2/13

6/2/13 - 6/9/13

6/9/13 - 6/16/13

6/16/13 - 6/23/13

6/23/13 - 6/30/13

6/30/13 - 7/7/13

7/7/13 - 7/14/13

7/14/13 - 7/21/13

7/21/13 - 7/28/13

7/28/13 - 8/4/13

8/4/13 - 8/11/13

8/11/13 - 8/18/13

8/18/13 - 8/25/13

8/25/13 - 9/1/13

9/1/13 - 9/8/13

9/8/13 - 9/15/13

9/15/13 - 9/22/13

9/22/13 - 9/29/13

9/29/13 - 10/6/13

10/6/13 - 10/13/13

10/13/13 - 10/20/13

10/20/13 - 10/27/13

10/27/13 - 11/3/13

11/3/13 - 11/10/13

11/10/13 - 11/17/13

11/17/13 - 11/24/13

11/24/13 - 12/1/13

12/1/13 - 12/8/13

12/8/13 - 12/15/13

12/15/13 - 12/22/13

12/22/13 - 12/29/13

12/29/13 - 1/5/14

1/5/14 - 1/12/14

1/12/14 - 1/19/14

1/19/14 - 1/26/14

1/26/14 - 2/2/14

2/2/14 - 2/9/14

2/9/14 - 2/16/14

2/16/14 - 2/23/14

2/23/14 - 3/2/14

3/2/14 - 3/9/14

3/9/14 - 3/16/14

3/16/14 - 3/23/14

3/23/14 - 3/30/14

3/30/14 - 4/6/14

4/6/14 - 4/13/14

4/13/14 - 4/20/14

4/20/14 - 4/27/14

4/27/14 - 5/4/14

5/4/14 - 5/11/14

5/11/14 - 5/18/14

5/18/14 - 5/25/14

5/25/14 - 6/1/14

6/1/14 - 6/8/14

6/8/14 - 6/15/14

6/15/14 - 6/22/14

6/22/14 - 6/29/14

6/29/14 - 7/6/14

7/6/14 - 7/13/14

7/13/14 - 7/20/14

7/20/14 - 7/27/14

7/27/14 - 8/3/14

8/3/14 - 8/10/14

8/10/14 - 8/17/14

8/17/14 - 8/24/14

8/24/14 - 8/31/14

8/31/14 - 9/7/14

9/7/14 - 9/14/14

9/14/14 - 9/21/14

9/21/14 - 9/28/14

9/28/14 - 10/5/14

10/5/14 - 10/12/14

10/12/14 - 10/19/14

10/19/14 - 10/26/14

10/26/14 - 11/2/14

11/2/14 - 11/9/14

11/9/14 - 11/16/14

11/16/14 - 11/23/14

11/23/14 - 11/30/14

11/30/14 - 12/7/14

12/7/14 - 12/14/14

12/14/14 - 12/21/14

12/21/14 - 12/28/14

12/28/14 - 1/4/15

1/4/15 - 1/11/15

1/11/15 - 1/18/15

1/18/15 - 1/25/15

1/25/15 - 2/1/15

2/1/15 - 2/8/15

2/8/15 - 2/15/15

2/15/15 - 2/22/15

2/22/15 - 3/1/15

3/1/15 - 3/8/15

3/8/15 - 3/15/15

3/15/15 - 3/22/15

3/22/15 - 3/29/15

3/29/15 - 4/5/15

4/5/15 - 4/12/15

4/12/15 - 4/19/15

4/19/15 - 4/26/15

4/26/15 - 5/3/15

5/3/15 - 5/10/15

5/10/15 - 5/17/15

5/17/15 - 5/24/15

5/24/15 - 5/31/15

5/31/15 - 6/7/15

6/7/15 - 6/14/15

6/14/15 - 6/21/15

6/21/15 - 6/28/15

6/28/15 - 7/5/15

7/5/15 - 7/12/15

7/12/15 - 7/19/15

7/19/15 - 7/26/15

7/26/15 - 8/2/15

8/2/15 - 8/9/15

8/9/15 - 8/16/15

8/16/15 - 8/23/15

8/23/15 - 8/30/15

8/30/15 - 9/6/15

9/6/15 - 9/13/15

9/13/15 - 9/20/15

9/20/15 - 9/27/15

9/27/15 - 10/4/15

10/4/15 - 10/11/15

10/18/15 - 10/25/15

10/25/15 - 11/1/15

11/1/15 - 11/8/15

11/8/15 - 11/15/15

11/15/15 - 11/22/15

11/22/15 - 11/29/15

11/29/15 - 12/6/15

12/6/15 - 12/13/15

12/13/15 - 12/20/15

12/20/15 - 12/27/15

12/27/15 - 1/3/16

1/3/16 - 1/10/16

1/10/16 - 1/17/16

1/31/16 - 2/7/16

2/7/16 - 2/14/16

2/14/16 - 2/21/16

2/21/16 - 2/28/16

2/28/16 - 3/6/16

3/6/16 - 3/13/16

3/13/16 - 3/20/16

3/20/16 - 3/27/16

3/27/16 - 4/3/16

4/3/16 - 4/10/16

4/10/16 - 4/17/16

4/17/16 - 4/24/16

4/24/16 - 5/1/16

5/1/16 - 5/8/16

5/8/16 - 5/15/16

5/15/16 - 5/22/16

5/22/16 - 5/29/16

5/29/16 - 6/5/16

6/5/16 - 6/12/16

6/12/16 - 6/19/16

6/19/16 - 6/26/16

6/26/16 - 7/3/16

7/3/16 - 7/10/16

7/10/16 - 7/17/16

7/17/16 - 7/24/16

7/24/16 - 7/31/16

7/31/16 - 8/7/16

8/7/16 - 8/14/16

8/14/16 - 8/21/16

8/21/16 - 8/28/16

8/28/16 - 9/4/16

9/4/16 - 9/11/16

9/11/16 - 9/18/16

9/18/16 - 9/25/16

9/25/16 - 10/2/16

10/2/16 - 10/9/16

10/9/16 - 10/16/16

10/16/16 - 10/23/16

10/23/16 - 10/30/16

10/30/16 - 11/6/16

11/6/16 - 11/13/16

11/13/16 - 11/20/16

11/20/16 - 11/27/16

11/27/16 - 12/4/16

12/4/16 - 12/11/16

12/11/16 - 12/18/16

12/18/16 - 12/25/16

12/25/16 - 1/1/17

1/1/17 - 1/8/17

1/8/17 - 1/15/17

1/15/17 - 1/22/17

1/22/17 - 1/29/17

1/29/17 - 2/5/17

2/5/17 - 2/12/17

2/12/17 - 2/19/17

2/19/17 - 2/26/17

2/26/17 - 3/5/17

3/5/17 - 3/12/17

3/12/17 - 3/19/17

3/19/17 - 3/26/17

3/26/17 - 4/2/17

4/2/17 - 4/9/17

4/9/17 - 4/16/17

4/16/17 - 4/23/17

4/23/17 - 4/30/17

4/30/17 - 5/7/17

5/7/17 - 5/14/17

5/14/17 - 5/21/17

5/21/17 - 5/28/17

5/28/17 - 6/4/17

6/4/17 - 6/11/17

6/11/17 - 6/18/17

6/18/17 - 6/25/17

6/25/17 - 7/2/17

7/2/17 - 7/9/17

7/9/17 - 7/16/17

7/16/17 - 7/23/17

7/23/17 - 7/30/17

7/30/17 - 8/6/17

8/6/17 - 8/13/17

8/13/17 - 8/20/17

8/20/17 - 8/27/17

8/27/17 - 9/3/17

9/3/17 - 9/10/17

9/10/17 - 9/17/17

9/17/17 - 9/24/17

9/24/17 - 10/1/17

10/1/17 - 10/8/17

10/8/17 - 10/15/17

10/15/17 - 10/22/17

10/22/17 - 10/29/17

10/29/17 - 11/5/17

11/5/17 - 11/12/17

11/12/17 - 11/19/17

11/19/17 - 11/26/17

11/26/17 - 12/3/17

12/3/17 - 12/10/17

12/10/17 - 12/17/17

12/17/17 - 12/24/17

12/24/17 - 12/31/17

12/31/17 - 1/7/18

1/7/18 - 1/14/18

1/14/18 - 1/21/18

1/21/18 - 1/28/18

1/28/18 - 2/4/18

2/4/18 - 2/11/18

2/11/18 - 2/18/18

2/18/18 - 2/25/18

2/25/18 - 3/4/18

3/4/18 - 3/11/18

3/11/18 - 3/18/18

3/18/18 - 3/25/18

3/25/18 - 4/1/18

4/1/18 - 4/8/18

4/8/18 - 4/15/18

4/15/18 - 4/22/18

4/22/18 - 4/29/18

4/29/18 - 5/6/18

5/6/18 - 5/13/18

5/13/18 - 5/20/18

5/20/18 - 5/27/18

5/27/18 - 6/3/18

6/3/18 - 6/10/18

6/10/18 - 6/17/18

6/17/18 - 6/24/18

6/24/18 - 7/1/18

7/1/18 - 7/8/18

7/8/18 - 7/15/18

7/15/18 - 7/22/18

7/22/18 - 7/29/18

7/29/18 - 8/5/18

8/5/18 - 8/12/18

8/12/18 - 8/19/18

8/19/18 - 8/26/18

8/26/18 - 9/2/18

9/2/18 - 9/9/18

9/9/18 - 9/16/18

9/16/18 - 9/23/18

9/23/18 - 9/30/18

9/30/18 - 10/7/18

10/7/18 - 10/14/18

10/14/18 - 10/21/18

10/21/18 - 10/28/18

10/28/18 - 11/4/18

11/4/18 - 11/11/18

11/11/18 - 11/18/18