A Hard Rain is Gonna Fall.
by matthias wivel & friends
A Hard Rain is Gonna Fall.
It was a great pleasure, in the run-up to Christmas, to announce the publication of the latest issue of the art history anthology Artibus et Historiae, which is a special issue dedicated to Professor Paul Joannides, formerly of the University of Cambridge, now Emeritus.
I was once of the guest editors of this projects, working with a group of Paul’s former students and friends to put together a publication that we thought he would enjoy, a Festschrift to mark his retirement a couple years ago, but beyond that of course his significance as a scholar and teacher in his field. It was all kept a secret and took about two years. We’re proud of the publication and happy in this way to honour a great teacher, mentor and person.
The list of contributors includes many of Paul’s friends and colleagues, some who have known him for most of their lives and some who only got to know him in recent years, as his last students. The list of contents can be perused through the link above.
I managed to contribute an article myself. Here’s the abstract: Continue reading ‘Celebrating Paul Joannides’
Don’t let this jerk, or any Republican, take anything today. Our future depends on it.
Fahrenheit er ganske enkelt den væsentligste danske tegneserieantologi de sidste tre årtier. Det samme gælder forlaget Fahrenheit på dets område. Man kan muligvis til tider have savnet en redaktionel linje, men det er nok samtidig en af hemmelighederne bag forlagets sejlivethed og brede betydning. Det ganske enkelt svært at forestille sig den opblomstring af dansk tegneserie og dansk tegneseriekultur, vi ser i dag uden. Paw har holdt faklen højt i op mod fyrre år og står fortsat som en konstant, varm og progressiv kraft et sted i kulturens hjerte. Fra Godfather til gryende Grand Old Man, med familie i nuet og en fortid at kigge stolt tilbage på. Cyklens fase fire—fremtiden—venter.
Tak og tillykke Paw!
UPDATE: Der er en stor fødselsdagsgave til Paw fra venner og kolleger på Nummer9.
As is always the case, lots happened this week, but my preoccupation continues to be the implications of the 7 and 9 January 2015 murders in Paris, or at least what they are coming to represent. As Kenan Malik laments in his excellent op-ed piece for Göteborg-Posten, the initial wave of sympathy for the dead and the huge public manifestations which happened as a reaction all over France, and in other countries, exactly one year ago don’t seem to have changed much for the better when it comes to public opinion on freedom of speech and freedom of expression. European countries, France not least among them, continue prosecuting people for various forms of “hate speech” and “terrorist sympathies” while identity politics are leading educated people in increasingly absurd to silence others. And Islamist reactionaries and jihadists seem as determined as ever to silence any perceived transgressors, whether in the West or in Muslim majority countries, most recently and horrifically Saudi Arabia. At the same time, very few in the West are joining Charlie Hebdo in the necessary, continued testing of the boundaries. And frankly Charlie itself is much diminished now that several of their best cartoonists are either dead or have left the publication. Continue reading ‘The Week’
Writing extemporally what’s on my mind was kind of the point of these posts back when I was doing them regularly (i.e. almost weekly), so I guess that’s what I’ll do here for this brief resurfacing on my blog.
It’s a new year, and as usual it holds promise while simultaneously carrying a lot of baggage with it. Just these first few days remind us that people are still dying on the beaches of Europe while an increasingly destructive civil was is going on in the Middle East, Sweden — my neighbouring country as I write this — is instating universal ID checks at the border for the first time in generations, costing the country millions and reminding us all of the profundity of the problem we’re facing in Europe. Oh, and so-called Islamic State has just released another piece of vile agitprop promising bloody murder in Britain, my country of residence. And so on.
Yet, all of this seems strangely unreal to me, in the grip as I am — at least in unguarded moments — of a kind of apocalyptic paralysis. For obvious reasons 2015 was a stark reminder that climate change is almost certain to change the world as we know it over the course of the next generation. All the current problems are negligible in comparison to what’s on the horizon. COP21 arguably provided some cause for optimism, but it seems foolish fully to trust that we will be able to avert the cataclysm science tells us is coming to an extent that doesn’t profoundly upset life everywhere on Earth. Continue reading ‘The Week’
It’s been a slow year here at the Bunker. Don’t know that 2016 won’t be the same, but I’ll be sure to let y’all know when and if things kick up again. Thanks for stopping by and all best to you and yours.
It’s been forever since I did one of these. Such is the half dormant life of this blog. But anyway, the itch is still occasionally there so here we go.
The above video was made a few months ago to coincide with the opening of the Sansovino Frames exhibition at the National Gallery. We had just successfully acquired the beautiful Venetian (non-Sansovino) frame which now adorns Titian’s Allegory of Prudence, partly through crowdfunding, and which features in the clip. I think it encapsulates well some of the very real pleasures of working with great artworks: the fact that details count; the kind of holistic thinking the works demand of you when you plan their display; and not least the passion and expertise that they demand. I appear for a brief moment and contribute nothing, but do watch the video for the insight it gives into our framing department and the great work Peter Schade and his staff do there.
OK, here are some links:
It feels – crushingly – like it was inevitable. Before, Copenhagen felt like it was somehow exempt from this kind of barbarism. That was an illusion, of course, but this is still a rude awakening.
That’s an image of the presumed target of the attack, Lars Vilk’s masterwork Nimis, the flotsam city on the edge of Kullen, in southern Sweden.