Archive for the 'journal' Category

Merry Christmas!

Dosso Dossi, The Adoration of the Kings, about 1527-9, London, The National Gallery


 

Rackham 20 år efter

Radio Rackham er et nyt kritisk tegneseriepodcast, der tager såvel den hjemlige som den internationale tegneseriekultur under behandling og ligeligt sætter fokus på tegneserien som kunstform og kulturfænomen. Det er os, holdet bag tidskriftet, websitet og projektet Rackham, der står bag. Podcastet kobler sig således på en indsats, der også var afgørende i udstillingerne og tegneserieantologierne under BLÆK-paraplyen og etableringen af institutioner i dansk tegneseriekultur som Dansk Tegneserieråd, Pingprisen og Nummer9. Vi er nu blevet midaldrende, og så skal man jo have et podcast.


Der er gået 20 år siden Rackham #1 kom fra trykken. Det virker som var det igår. Der sket en hel masse siden, ikke mindst i tegneseriekulturen, men på andre måder er der ikke sket så meget. Det er udgangspunktet i vores første afsnit, som netop er gået i luften. Vi fortsætter således det måske lidt utopiske projekt om at bidrage til tegneserien og tegneseriekulturen med liv, debat, indsigt og organisering. Det er godt at være tilbage, om end vores form og formåen nødvendgvis ikke er helt den samme som den var.

Tun ind på første afsnit i hvilket Thomas Thorhauge, Henry Sørensen, Frederik Storm og undertegnede diskuterer tegneserieformen som den tager sig ud lige nu, ikke mindst i den danske kultur og på det danske tegneseriemarked:

Skud til min homie DJ Cars10 for at bistå os med beats. Tak til Kim Schou og Morten Søndergård for teknisk bistand. Det oprindelige Rackhams arkiv kan konsulteres lige her i Bunkeren.

Status

Håb

Titian at the National Gallery


Before the world went sideways, I was working on an exhibition, Titian Love Desire Death, uniting seven masterpieces of mythological paintings by Titian (about 1488-1576) at the National Gallery. We managed to open the exhibition on 16 March. Three days later it closed along with the rest of the Gallery which was one of the last European institutions of its kind to do so. We have no idea when we will be able to reopen again and therefore whether we will be able to share this extraordinary collection of paintings with the public before they have to be packed and shipped onwards. I wrote about this situation for Apollo Magazine last week.


Titian called these pictures poesie in order to emphasise the inspiration he had taken from classical poetry and the ambition to have them work as visual poems. The group of six canvases were executed for Philip of Habsburg, King Philip II of Spain from 1556, between about 1551 and 1562, while a seventh was never sent and only completed towards the end of the artist’s life. The six have not been seen together since, probably, the 1570s, and the seventh has never been displayed with the rest of the group. This was a dream project, not just of mine but any Titian or Italian renaissance enthusiast for generations.


I have been privileged to play a part in its realisation and hope you will want to take a closer look, if not in person at the National Gallery, then perhaps at one of our partnering venues: the Scottish National Gallery in Edinburgh, the Museo del Prado in Madrid or the Isabella Stewart Gardner Museum in Boston, to where the paintings will tour, if all goes well and the pandemic doesn’t get in the way of that too. And if not there, then perhaps virtually — we will doing our best to share our knowledge and appreciation online over the next months, in part under the #MuseumFromHome tag. Also, there will be a documentary dedicated to Titian and the poesie, in which I participate, broadcast on BBC 2 on 4 April and I believe Mary Beard will be featuring the works on Front Row Late sometime soon as well. Will post links in here when and if.

Our exhibition film is based on the BBC’s footage, a taster of which can be seen in the following short video on the paired Diana and Actaeon and Diana and Callisto:

Here is a Facebook Live I did on 16 March, before we opened to the public. It was done under the worrying shadow of Covid-19 so bear with the slight incoherence. In the run-up to the exhibition my colleagues and I also did a series of FacebookLives on the individual paintings — they can be accessed here.

A creative decision that we made early in the process and which I was particularly happy with was to reframe Philip’s six pictures in matching frames in order to harmonise the display. Handcarved in the National Gallery framing department by Peter Schade, our Head of Framing and his team, they are based on the original sixteenth-century frame around Titian’s late Pietà at the Accademia in Venice. Check out this nice video the Gallery produced on the project:

They *are* such wonderful paintings.

Happy New Year!


Better late than never?

Merry Christmas

Pieter Bruegel the Elder, The Adoration of the Kings, 1564, London, The National Gallery

Fantask no more?


Meget tyder på at Fantask er slut. I fredag i sidste uge sendte Butikkens ejer Marit Nim en besked ud til Butikkens abonnenter om, at de lukker til sommer. Det satte i den grad fællesskabet i affekt — Benjamin Herbst fra Superhelten.dk igangsatte en GoFundMe for at støtte Butikken, i håbet om at det kunne forhindre en lukning. På under 24 timer var indsamlingen oppe på en kvart million, på mindre end en uge nåede vi en halv. Marit annoncerede som reaktion, at Fantask ikke lukker, men nok stadig må flytte fra adressen Skt Pedersstræde 18, hvor Butikken har ligget siden 1971.

Det virker helt sikkert. Fantasks stiftere Rolf Bülow og Søren Pedersen ejer lokalerne, som samtidig udgør deres pension. De har siden de afhændede butikken til Marit sikret, at hun kunne køre den på gode vilkår. At Marit så i sidste uge annoncerer at hun bliver nødt til at lukke, viser tydeligt at det ikke længere kan lade sig gøre uden større forandringer. Vi håber alle på det bedste, da Fantask jo i den grad må karakteriseres som en kulturbærende institution i Danmark — og en der har betydet enormt meget for enormt mange, herunder undertegnede, som endda en overgang arbejdede der.

Selvom det ikke er overraskende, gør det ondt at se Butikken kæntre her i den digitale tidsalder, hvor det i stigende grad er blevet vanskeligt at drive fysisk boghandel. Og det bringer alle minderne frem, i hvert fald hos undertegnede, men tydeligvis også for de tusindvis andre, der har lagt deres hårdt indtjente i hvad der nok snarere er en kærlighedserklæring til Fantask og et rygstød til holdet bag, end det er en realistisk redning. Lad os se, og Godspeed til alle de involverede, før og nu. Continue reading ‘Fantask no more?’

Lorenzo Lotto: Last Days


The Lorenzo Lotto Portraits exhibition at the National Gallery, which I co-organised with Miguel Falomir and Enrico Maria Dal Pozzolo, is now in the last days of its run. It’s been a great season for Lotto, what with us putting Lotto on at two of the major art museums of the world, the Museo del Prado in Madrid and The National Gallery, and with the concurrent Lotto initiative, inspired in part by our exhibition, in the region of the Marche, which has included an additional, more specialist-oriented exhibition in Macerata as well as the introduction of a joint ticket for visitors wanting to go on the Lotto trail through the region. Something which I’ve done and highly recommend — not only does it feature some of the artist’s greatest altarpieces and other paintings, the Marche is also a beautiful part of the world, mercifully free of tourists. Now, with tours, academic conferences, study days and other activities behind me, I can only say that I’ve become even more devoted learning about to this astonishing artist. I hope you have too.

Encouragingly in that regard, the London iteration of the exhibition, smaller but arguably more focused than the magnificent Madrid one, has been a success. It is heartening to see so many people show an interest in a great artist who is virtually unknown outside Italy. I attribute it to Lotto’s very direct, intimate and relatable approach to his subject matter — he is an artist of great empathy who cannot but invest a lot of himself in his work, and it shows. If you haven’t seen the show yet and are in London, I hope you might be able to find the time. It’s open till Sunday. Check my introduction to the show above.

Happy New Year!


Have a better one.

Merry Christmas!

Bramantino, The Adoration of the Kings, about 1500, London, The National Gallery

Venetian Drawings in Copenhagen


Years in the making, Chris Fischer’s latest catalogue of the collection of old master drawings at SMK, formerly in the Royal Print Collection, in Copenhagen, is now available. It covers the Venetian drawings, which is one of the collection’s strengths, even if it only contains a handful of real masterpieces.

I had the fortune of collaborating with Chris on this catalogue during my short stint as a research fellow at SMK, 2012-14. My contributions were minimal, but I am still proud to see my entries on Domenico Campagnola and his Paduan colleague Stefano dall’Arzere in there along with Chris’ exemplary entries on everything from Carpaccio and Veronese to Aliense and the Tiepolos. Also, Chris’ general introduction to the Venetian school of drawing is as good a short primer on this complex and still somewhat neglected field as you will find anywhere.

Bizarrely, the museum does not seem to sell this new publication, nor the former entries in what is a gold standard series for the cataloguing of drawings, anywhere online. I’m sure the catalogue will soon be available through international booksellers, but so far the only place I’ve found it is the Danish store Saxo.com.

Chris Fisher, with contributions by Matthias Wivel, Venetian Drawings (Italian Drawings in the Royal Collection of Graphic Art), Copenhagen: Statens Museum for Kunst, 2018

CAV

Fra Cavs bidrag til antologien BLÆK som undertegnede redigerede med Thomas Thohauge og Frederik Storm i 2006.


Cav er død. Det er så uendeligt trist. Jeg tror jeg kan sige, at vi var venner, selvom vi ikke sås tit. Vi var i hvert fald gode kolleger en årrække, hvor dansk tegneseriekultur rykkede sig meget. Eller lad mig sige det på denne måde: da jeg for nogle år siden — fordi jeg endnu engang stod foran en flytning til udlandet — på smertelig vis skulle skille mig af med en tredjedel af mine fra barndommen elskede amerikanske tegneserieblade, var der ingen tvivl om hvem der skulle have dem.

Jeg holdt meget af ham, som kollega og menneske. Det var altid en fornøjelse at være sammen med Cav. Han lyste op og gjorde glad, hvor end han gik, men det tyder på at det ikke altid gik den anden vej. Han var tydeligvis også dybt plaget i perioder. Thomas Thorhauge har skrevet en oplysende og gribende nekrolog og jeg har ikke meget konkret at tilføje, men synes alligevel jeg ville dele nogle anekdotiske minder. Continue reading ‘CAV’

Happy New Year!

Merry Christmas

Filippino Lippi, The Adoration of the Kings, about 1480, The National Gallery