Archivo del blog

domingo, 31 de octubre de 2010

Muybridge, chantre de la beauté du corps humain



29 de octubre, Le Monde.

Assassin de l’amant de sa femme, aventurier anglais dans l’Ouest américain, changeant l’orthographe de son nom et de son prénom (Edward Muggeridge devenant Eadweard Muybridge), homme d’affaires plus ou moins avisé, mais néanmoins grugé par Mr. Stanford, Muybridge a eu une vie mouvementée. S’il reste, pour tout un chacun, le co-inventeur (avec Marey) de la photographie du mouvement, l’exposition de son travail à la Tate Britain à Londres (avec plus de 150 photographies; jusqu’au 16 janvier) est l’occasion de découvrir aussi bien d’autres aspects : il est le chantre de la conquête de l’Ouest, des chemins de fer, de la colonisation de l’Alaska, du tourisme naissant en Californie (à Yosemite en particulier), des dernières guerres indiennes (même s’il photographie de faux indiens Modoc, n’ayant pu approcher les farouches guerriers), mais aussi le promoteur (stipendié) de la culture du café au Guatemala et des mérites du Canal de Panama.

Après ses fameuses photos de cheval au galop pour Mr. Stanford, il s’intéresse surtout à la locomotion du corps humain, de préférence aussi nu que possible. Associé à l’Université de Pennsylvanie peu après que Thomas Eakins en ait été expulsé pour avoir montré des modèles masculins nus à ses étudiantes, Muybridge n’hésite pourtant pas à se complaire dans les photographies faussement pudiques (Woman turning in surprise and then running away, 1887). Une autre série d’images, dont je n’ai pu trouver de bonne reproduction, montre une gracieuse jeune fille avec un simple voile transparent autour de la taille, traversant un ruisseau en sautillant de pierre en pierre, avec une canne à pêche et un petit seau, pêcheuse improbable et gracieuse, la tête légèrement baissée, assurant ses pas : scène bucolique et gentiment érotique, de face, de dos et de trois-quarts arrière : à noter qu’on a pu dire que ces prises de vue du même sujet selon différents angles annonçaient la décomposition cubiste de la vision (au chapitre des ‘influences’ de Muybridge, on peut aussi compter la femme descendant un escalier de Duchamp).



Ancêtre de la bande dessinée, voire du cinéma (son zoopraxiscope simule le mouvement animé), Muybridge, au-delà de ses avancées techniques, apparaît surtout dans cette exposition comme un adorateur de la beauté du corps humain. Les photographies de cette femme dansant (1887) capturent remarquablement la beauté de son mouvement, son élégance vaporeuse, sa légèreté. Au-delà de son étude scientifique du mouvement, on a souvent l’impression que Muybridge s’amuse, prend du plaisir à ses compositions, et c’est tant mieux : ainsi de la jeune femme se mettant au lit avec un regard plein de provocation et d’invite ou d’une scène où le modèle n°8 (sans doute la bien nommée Catherine Aimer, qui fut sa maîtresse attitrée) verse de l’eau sur la tête du modèle n°1, avec une superbe capture du mouvement de l’eau.



Ses photographies d’athlètes, tout aussi remarquables dans leur rendu du mouvement, ont un aspect plus rigoureux, plus scientifique, elles prêtent moins à rêver, mais composent des motifs plus géométriques, plus formels, ainsi ces deux escrimeurs dont les membres et les fleurets composent un alphabet de dessins cunéiformes. Les photographies de l’enfant handicapé sont aussi très connues.

Mais une des séries qui m’a le plus impressionné (Francis Bacon en avait une copie dans son atelier) est celle du lutteur Ben Bailey : c’est le seul modèle noir de Muybridge, il est très musclé, son geste est violent. Mais surtout Muybridge l’a mis dans une catégorie à part : il a été photographié devant une grille de mesure, et il est, sauf erreur, le seul le premier humain à l’avoir été*, alors que tous les animaux, ou presque ont été photographiés de cette manière. L’énergie du lutteur est montrée, non sans racisme, comme primitive, bestiale, à la fois fascinante et inquiétante. Étonnante série dont je n’ai trouvé qu’une seule image.



À noter aussi cette exposition (que je n’ai pas vue) sur les zoopraxiscopes de Muybridge à Kingston upon Thames.

* Correction : voir citation dans le commentaire du 29 octobre à 19h07 sur Bailey et la posture raciale de Muybridge.
Photo de la série Bailey ajoutée au même moment (merci à Guillaume L.).

The 10 best British artworks about war


Jeremy Deller with his work 'Baghdad, 5 March 2007', a car salvaged from a Baghdad market bombing. Photograph: Jonathan Hordle/Rex Features


Broadcaster Jon Snow picks his favourite artistic interpretations of war

Share33 Jon Snow The Observer, Sunday 31 October 2010 Article history

1 Jeremy Deller It Is What It Is (2009)

Deller towed this Baghdad taxi round America, provoking debate wherever he went. It was blown up on a Baghdad street dominated by bookshops and it was no accident that the car bombers chose that particular street; they devastated what the insurgents regarded as a hub of decadent western culture. Deller spent six months, accompanied by an Iraqi refugee and a GI, stopping in towns and cities across the US, connecting Americans with the Iraq war. Having starred in the Contemporary Art Museum in Chicago, the taxi has finally arrived in pole position at London's Imperial War Museum.

2 John Piper Interior of Coventry Cathedral (1940)

Piper concentrated on this emblematic casualty of the second world war. The scene he paints in savage technicolour "the morning after the Blitz" stands almost unaltered today. Coventry took the full impact of the German reprisal for the allied bombing of Germany. Along with the loss of life, this was the overnight destruction of a religious icon, a cathedral that had survived the elements for more than half a millennium. Piper was young enough to play a role in the decoration of the Basil Spence building that rose from the ashes.

3 Percy Wyndham Lewis A Battery Shelled (1919)

Only by executing this painting after the first world war's end did Wyndham Lewis get away with it. Richard Nevinson had already been censored for his attempt to depict the true human cost of war by showing two dead Tommies lying unburied above a trench. Lewis deploys the remnants of both cubism and futurism in his portrayal of the devastation of targeted attack. He had served in the artillery in 1916 and so had first-hand knowledge of his subject matter. He shows a dead gunner being buried following an attack on an artillery battery.

4 Stanley Spencer Resurrection (1927)

This climactic piece sits above the altar at Sandham memorial chapel, Burghclere. It's a vast mural that ranges from reunited friends in heaven to the bodies of dead horses on a battlefield littered with crosses, and a tiny figure of Christ. Upon securing the commission Spencer cried: "What ho, Giotto!" He did not exaggerate. Had he painted this, and the other murals alongside, in a Wren church in the City, instead of in this remote Hampshire village, it might have become one of the most visited spots in Great Britain.

5 John Keane Mickey Mouse at the Front (1991)

Keane was the official British war artist on the front line in the Gulf war. Here, he paints the incongruities of war. He has something of Spencer's eye for detail – a shopping trolley full of rocket- propelled grenades, a bedraggled and brutally mangled palm tree and the bizarre appearance of Mickey Mouse. The awkward juxtaposition of American imagery (almost certainly carried to war as a mascot) imposed on a backdrop of a foreign land of which the invader probably knew little and cared less - it's perhaps one instance of war art as anti-war.

6 Steve McQueen Queen and Country (2007)

A completely brilliant three-dimensional tribute to the British soldiers who died in the Iraq war. It's an individual sheet of stamps intended for postal circulation (but poignantly refused by the Post Office) stored on individual, wooden- framed plates in an oak, coffin-shaped cabinet. To the naked eye, they appear like any other run of stamps, but down each side a short statement of age, rank and place of death sets them apart from the norm. One feels this piece will stand the test of time.

7 Henry Moore Tube Shelter Perspective (1941)

Moore spent many hours during the Blitz down in the Aldwych station on London's Piccadilly line. This was the sanctuary for hundreds of Londoners sheltering from the bombing above. Executed in pencil, ink wax and watercolour, this is an eerie work of ghostly pale shades. The sleeping bodies have the look of a regiment of corpses. It was exhibited above ground, along the road at the National Gallery, taking up space on walls vacated by the collection of old masters that had been carted off to Cheshire salt mines for safe keeping.

8 John Singer Sargent Gassed (1919)

One of the single most arresting images of the first world war. Blinded by gas, a column of soldiers stumbles across the battlefield. Yet in the far distance of this enormous canvas you can see other men playing football. It provides an intriguing insight into something Spencer worked on, the intermingling of the horror of war with the normality of life. Sargent went to France in the closing months of the war and was commissioned to paint this for a Hall of Remembrance. It hangs to this day on permanent display in a section of the Imperial War Museum set aside for that purpose.

9 Paul Nash We Are Making a New World (1918)

The fruitlessness and desolation of war is summed up in this painting. It remains one of the most important works of the first world war art. The portrayal of sheer havoc expressed through broken trees, devastated roadways, an absence of houses and all life. Nash was spared by falling into a trench and sustaining an ankle injury that necessitated his being invalided out. But not before writing, in letters home to his mother in England, harrowing accounts of what he had seen.

10 Richard Nevinson Column on the March (1915)

A sensational picture displaying the power of Nevinson's groundbreaking futurist commitment. He depicts a phalanx of French soldiers marching to war as one unbroken spiky metallic war machine. Utterly brilliant, but, poor man, he believed the first world war would be the making of futurism. He regarded it as potentially the greatest arena for the futurist movement until he ended up working the trenches for the ambulance brigade. He suffered a nervous breakdown and although he painted more wonderful stuff, his dream of futurism was significantly tempered and he with it.

Jon Snow's The Art of War is on Channel 4 on Wednesday (as part of The Genius of British Art series). An accompanying lecture is at the National Gallery on Friday at 6.30pm (nationalgallery.org.uk)

US space shuttle programme faces its final countdown


The space shuttle Discovery approaches the International Space Station in October 2007. Photograph: NASA/AP


Tomorrow, Discovery will take off on one of its final missions. Why, 30 years after the reusable rocket launcher threatened to make travel beyond Earth commonplace, did the project fall from grace?

Robin McKie The Observer, Sunday 31 October 2010 Article history

On the morning of 12 April 1981, astronauts Robert Crippen and John Young took the lift to the top of the launch tower at complex 39A at Cape Canaveral in Florida and strapped themselves into their seats on the space shuttle Columbia. The pair were about to fly the world's first reusable rocket launcher, a 100-tonne chunk of revolutionary space technology. This was the first time Nasa had put men on an untested launcher and the nerves of its staff were by now severely strained.

For hours, engineers had been pumping hundreds of thousands of gallons of liquid hydrogen and oxygen into Columbia's fuel tanks. When combined, the two elements would generate more than a million pounds of thrust. A further kick would then be provided by two huge solid fuel boosters containing a highly explosive mixture of aluminium powder and perchlorate oxidiser.

The countdown reached its final moments, the point at which, according to former Nasa chief Daniel Goldin, "your breathing slows, your heartbeat becomes noticeable and an uncomfortable muscle tension fills your body". And he was just an observer.

Slowly, the minutes ticked away until, eight seconds before lift-off, the shuttle's turbo pumps – each powerful enough to empty a swimming pool in 20 seconds – started to force hydrogen and oxygen into the spacecraft's three main engines, where the two elements combined with unbridled ferocity. In seconds, temperatures in the engines soared to 6,000C.

Super-heated steam – generated by the explosive marriage of hydrogen and oxygen – erupted from the base of the spaceship; the computer ignited the two solid boosters; the giant bolts which had been holding the straining shuttle to the ground were blown open; and, at just after midday, Columbia rose gracefully into the air on a pillar of white vapour. Twenty years to the day that Yuri Gagarin had become the first human in space after orbiting Earth in a Vostok capsule, America had launched the first reusable spaceship.

For the next two days, Columbia circled the Earth. It was a bit like camping, as Robert Crippen later recalled. "We ended up sleeping in our seats and you had to pay attention to housekeeping, not to get things too dirty." Then, after 37 orbits, the mission's pilot trimmed Columbia's velocity, causing the spaceship to dip into Earth's atmosphere and on to a perfect, unpowered landing at Edwards Air Force base in California.

Columbia's flight was greeted with adulation. Its revolutionary engines had worked perfectly despite the colossal, violent heat of the combustion of its hydrogen and oxygen fuels, while its thermal insulation tiles had survived the searing temperatures of re-entry. The day of the expendable launcher was over. Space travel would soon be commonplace.

At least that is what Nasa said would happen. In reality, what occurred was a desperate disappointment. Flights of the shuttle – despite its brilliant engineering – never became commonplace. Columbia and its sister craft were supposed to make 50 flights a year, according to Nasa launch manifests. But only 132 shuttle missions were flown between 1981 and 2010, an average of 4.5 a year, a grimly inadequate figure for a craft that "will revolutionise transportation into near space by routinising it", as President Nixon announced in 1972.

Worse, two of the five shuttles that were built – Challenger and Columbia – were destroyed in accidents that killed 14 astronauts. In the wake of these tragedies, Nasa engineers became more and more safety-conscious and launch costs soared from Nasa's estimate of $7m a mission to almost $1bn. Thus the shuttle has become the costliest, most dangerous transport system ever built.

Now it is to be scrapped. At Cape Canaveral, engineers are now preparing to launch the shuttle Discovery, currently scheduled to blast off tomorrow on its final mission – to the International Space Station. There will be two more flights – Endeavour in February and Atlantis in June. Then the shuttle fleet will be grounded.

But how could this fall from grace have occurred? What turned the craft that soared so gracefully over Florida in April 1981 into a redundant, dangerous orbiting dinosaur? These are key questions, for until they are answered America (and the rest of the west which has relied so much on the ability to put men into space) will find itself floundering to find a role in space or a reason for being there. The US has got lost in space and the failure of the shuttle carries much of the blame. "The shuttle made America dependent on a fragile, expensive, risky launch system," says space policy expert professor John Logsdon of George Washington University. "It created the delusion of easy access to space. Now we are paying the price."

At the end of the 60s, the US triumphed over its Soviet space rivals because it spent vast sums on developing its huge Saturn V launcher which could hurl a manned craft to the moon with ease. After Apollo 11, Nasa asked that the Saturn V be allowed to ferry large modules into orbit, where a space station could be constructed by 1975. From there a Mars mission could be launched in the 1980s.

"President Nixon and his staff just looked at the plan and said, 'Are you kidding?'" says Logsdon, a white-haired, imposing but genial figure. "They were not interested in such a programme because they calculated it would do them no good in their term of office. They wanted a faster fix."

Instead, says Logsdon, Nixon and his aides simply took a map of the United States and looked at key states they needed to win to ensure victory in the 1972 presidential election. The decision came to set up a major aerospace programme involving these states. Construction of a reusable space shuttle, an idea that Nasa had also being toying with, fitted the bill. The agency was ordered to prepare detailed plans – on a very tight budget. The days of high spending on space were over and the Saturn V, which had put Americans on the moon, was dumped.

Stuck with limited resources, Nasa was in trouble, Logsdon says, and had to give up its original idea of launching the shuttle, piggyback-style, on a specially designed, manned jet plane. Both launcher and shuttle would have been reusable. Instead, to save cash the shuttle would be strapped to huge tanks that would provide fuel for its engines and to boosters that would provide extra thrust but which would be dumped during launch. The shuttle was not therefore a fully reusable spacecraft.

In addition, the agency wanted to use boosters that would burn liquid fuel, a relatively stable configuration, but in the end had to choose solid fuel boosters: an untested, less stable, but cheaper option. For similar reasons, a crew escape system was scrapped.

Then there was the involvement of the military. To find funds for the shuttle's development, Nasa asked defence chiefs to join in the project and use the spaceship to put all their military and surveillance satellites in orbit. The Pentagon agreed but insisted that the shuttle be capable of flying giant payloads on flights over the poles so that it could launch spy satellites to any part of the globe. This requirement meant the shuttle would have to re-enter the atmosphere on courses that needed far more robust, far heavier thermal insulation. Starved of cash by Nixon's White House, the agency was forced to agree.

"The shuttle was designed by a series of compromises to satisfy too many demands and too many requirements from too many different bodies," says Logsdon. "The result was a vehicle that could no longer achieve the basic goals that had been set for it."

Nevertheless, for the first four years of its operations, the shuttle – for all its flaws – operated well. It launched a total of 24 satellites, retrieved two broken communication satellites and repaired another in orbit. In addition, it not only flew US astronauts, it carried citizens of Germany, Mexico, Canada, Saudi Arabia and Holland into space.

But pressure was mounting on engineers who were finding it increasingly difficult to maintain the tight launch schedules imposed by Nasa as it tried to keep shuttle operations cost-effective.

On 28 January 1986, the spacecraft's deficiencies were exposed with deadly consequences. A seal in a booster of the shuttle Challenger failed at lift-off. Pressurised hot gas sprayed over the craft's fuel tank and the spaceship exploded 73 seconds into its flight. Binding together fuel tanks and boosters had had grim consequences.

The US – an intensely self-conscious nation – reacted with horror and grief. I covered the tragedy for the Observer and discovered Florida reeling in its wake. On the main road from the Cape to Miami, all the neon-lit signs on the strip had been changed from offers of cheap meals and lodging to messages: "May God protect the shuttle crew"; "We pray for the Challenger astronauts". The normally busy bars of Cocoa Beach, near the Cape, were empty. Locals spent the days following the explosion on the beach, hunting in the sand for any scrap of debris to hand over, desperate to feel that they were, in some way, helping

At the time, Nasa insisted the crew had been killed instantly. But the debris revealed a different story: several astronauts had survived Challenger's initial break-up but, without an escape system, had perished when their crew compartment crashed into the ocean. It was also discovered that Nasa managers had disregarded warnings from engineers about the dangers of launching after the Cape had experienced near freezing temperatures the night before lift off. The cold caused the breaking of the booster seal and doomed the flight.

After Challenger, the launch of commercial satellites from the shuttle was halted; a number of major changes were made to Nasa operations; and a replacement craft, Endeavour, was ordered. For its part, the Pentagon simply abandoned the shuttle; it closed down its special $3bn launch facility in California – without a single craft having lifted off from it – to leave the spaceship lumbered with the cumbersome thermal tiles that defence chiefs had insisted must be fitted. "It's tragic. It made the shuttle far heavier than necessary – but then there are so many tragic stories when it comes to the shuttle," says Logsdon. In the end, it is estimated that the accident cost the US a total of $12bn.

In September 1988, shuttle launches resumed with the lift-off of Atlantis. Again, Nasa insisted it was dealing with a fully operational, properly tested vehicle – and not an experimental craft, as it really was – and so set up a stiff schedule of flights that later included plans to ferry components to the International Space Station (construction of which began in 1998).

And again the agency ignored the warnings. In 1989, the US Office of Technology Assessment calculated there was a 50-50 chance of losing another shuttle "within 34 flights", while the Augustine committee, charged with investigating the future of the US space programme, warned Nasa was "likely to lose another space shuttle in the next several years".

The agency took no action. This was a problem, says Scott Pace, head of the Space Policy Institute in Washington, that could be traced to a simple flaw. "Nasa was trying to do too much with too little for too long a period because there was not a fundamental policy and political rationale for what it was doing." In other words it was pottering about in low Earth orbit with little purpose.

On 1 February 2003, the inevitable happened: Columbia disintegrated over Texas after it had re-entered the atmosphere and was preparing to land at the Kennedy Space Centre at Cape Canaveral. This time the cause was traced to a briefcase-sized piece of foam insulation that had fallen from the shuttle's external tank during launch. The debris had struck Columbia's left wing and damaged its thermal protection. As the craft swept into the atmosphere, hot gases generated by its passage through the atmosphere poured into the ship and eventually broke it apart.

"After the Columbia accident, a lot of us had a reality check," says Pace, talking in his Washington office. "Yes, the shuttle was a magnificent vehicle but surely it was done for now, we thought. The American part of the space station had already been built by then but not the European or Japanese components. So we asked our international partners if they still wanted to proceed.

"To our surprise, they said yes, we should see it through if we could. It was worth the risk. If they hadn't, that would have been the end of the shuttle there and then."

So far, those last two dozen missions, which have left the space station nearly completed, have gone well, with only three more to go. What follows is more difficult to assess.

After the shuttle's final flight in June 2011, the US will have to rely on Russian spacecraft to ferry astronauts to the space station, an ignominious position for the winner of the space race. At the same time, America's plans for a replacement launcher are shrouded in uncertainty. President Obama cancelled the Constellation programme that would have returned America to the use of expendable launch vehicles. Instead, private launch companies, with US government support, will fly missions to the space station, the president said. At the same time, Nasa will pursue a new, undefined heavy launch system.

It is all very vague and unsatisfactory. Yet many senior space officials refuse to put the whole blame for this confusion on the shuttle. "It was not an unqualified success but equally it was not a complete disaster," says Roger Launius, Nasa's chief historian. "The real tragedy is that we stuck with the shuttle for 30 years."

This is key. The shuttle was a test craft that demonstrated most but not all of the technology needed to create fully reusable spacecraft. However, under White House pressure, Nasa treated it as a fully operational craft.

"The shuttle should have been given an honourable retirement, which it certainly deserves, in the 1990s, and from the lessons learned a second-generation, fully reusable launcher would have been constructed," says Launius. Professor Logsdon agrees: "The shuttle was a first generation experiment in reusability and affordability. Not replacing it in the late 80s or early 90s was a failure of national leadership."

Viewed from this perspective, Discovery's lift-off tomorrow should be seen not as a triumph of high technology, but as the launch of an old space bus that long ago served its purpose and which should have been replaced by a craft that properly befits a nation with true aspirations in space. "The trouble is that America doesn't know why it is in space any more," adds Pace. "That is the real problem."

One thing is certain. Nerves at Kennedy Space Centre will be as taut as they were for that first shuttle launch day in 1981. "Most senior people at Nasa will be very happy to get this mission and the next two flown safely and then send the vehicles gracefully into museums," says Logsdon.

Exactly which museum will get a shuttle has yet to be decided, though each will make a perfect monument: to engineering ingenuity – and botched political decision-making.

Star Breaks Mass Record


by Yudhijit Bhattacharjee on 27 October 2010, 1:42 PM

A neutron star located 4000 light-years away has broken a record: It's nearly twice the mass of the sun and about 20% more massive than any neutron star measured before. Such stars form when massive stars collapse in supernovas, leaving behind a dense, neutron-rich core. The record breaker—named J1614-2230—is a type of neutron star called a millisecond pulsar; it spins at a dizzying rate of more than 300 revolutions per second and beams radio pulses in the direction of Earth every few milliseconds. Researchers were able to gauge the mass of the star by measuring the slowing speed of those pulses as they passed through the gravitational field of its companion star—an effect predicted by Einstein's theory of relativity. The measurement, reported online today in Nature, deals a death blow to several proposed models for the kind of matter that makes up a neutron star: exotic particles like hyperon, kaon condensates, and free quarks are out. The composition of a neutron star's dense core remains a mystery.

While the US and Europe face a test, Asia rockets towards recovery


The barometer for the global art market may no longer be New York's autumn sales, but rather what is happening in Hong Kong and Beijing
By Anders Petterson | Web only
Published online 28 Oct 10 (opinion)



Poly's spring auctions set a record

The speed of the recovery in the US and European contemporary art market has levelled out. After experiencing strong growth in the first half of 2010, early signs that the market is slowing again were evident in the London contemporary evening auction sales in June, which for the first time since the start of the downturn, fell 6.5% short of the low estimate. The weaker than expected results were brought about by a combination of post-Art Basel fatigue and aggressive estimates, coupled with heightened uncertainty around the brewing sovereign debt crisis.


Despite the wobble before the summer, the contemporary art market kicked off the autumn season with a confident, within-estimate sale from the Lehman corporate collection at Sotheby’s in New York, which partly quelled some of the worries about a possible “double-dip” scenario.


The mood was cautious going into Frieze Art Fair in London in early October, but solid demand during the opening days of the fair gave the primary market a welcome confidence boost and also provided support for auctions later in the week. The evening auction sales raised a total of £33.2m against a pre-sale estimate of £32.4m-£45.8m. But despite the total barely reaching the lower estimate, the results for Christie’s and Phillips de Pury (Sotheby’s didn’t organise an evening sale last autumn) were up by 74% and 29% respectively from October 2009. However, the ArtTactic Auction Indicator, analysing the relationship between the hammer price and the estimate, has been in negative territory since May 2010, suggesting that sellers’ expectations have become too high in the last two auction seasons.


The upcoming sales in New York will provide a better picture of the actual state of the recovery, as both auction houses are putting a large number of high quality works by Rothko, Lichenstein and Warhol on the block. The total average pre-sale estimate for Christie’s and Sotheby’s evening sales is $467m, 27% higher than the total value achieved in May 2010, and 158% higher than November last year. The strength of the 2010 recovery has so far been underpinned by rare works of art with important provenance—the question is whether the market is strong enough to digest so many of them.


Despite the revival of the financial services industry, Europe and US are facing difficult times ahead. And although the wealthiest segments of our society will easily stomach the severe cuts in public spending, the general economic uncertainty could be enough to halt the recovery process. ArtTactic's latest confidence survey in June 2010 showed that 69% of the respondents felt that the economy was the biggest threat to the current art market.


There is also a moral or ethical dimension to buying art at auction these days. And although the market does not lack buyers who can afford buying art at the high end, the question is about appropriateness, and whether it sends the right signals in the current environment. The strong positive signalling effect that art buying has had for the emerging new class of wealth in the recent years could instead become a signal of ignorance, decadence and greed.


Whilst the Western economies are struggling many of the larger emerging markets are still growing at neck breaking speed. China and India are both forecasted to grow close to 10% in 2010, closely followed by Brazil’s 7.5%. China also became the second largest economy in the world this year.


As a result of the changing world economic order the global art market could also be on the verge of a structural geographical shift, mainly towards the East. Recent Sotheby's auctions in Hong Kong supports this thesis, when a jam-packed week of auction sales raised a record $400m—the highest ever for a sales season in Hong Kong.


Another interesting aspect is what is happening in mainland China. Despite Sotheby's and Christie's domination of the international trade in Chinese art, it's the local auction houses such as Poly and Guardian that are experiencing the strongest growth.


Although the main growth has been in the traditional collecting categories such as Chinese ceramics and antiquities, as well classical Chinese paintings, the Chinese contemporary art market is currently experiencing a rapid recovery towards 2007 levels. Again, domestic players, such as Poly Auction, are showing strong commitment to this collecting category. In Spring 2010, Poly Auction achieved a turnover of $22.6m for contemporary Chinese art, which was 45% higher than Christie’s and 57% higher than Sotheby’s.


Whilst major sale records used to be achieved in Hong Kong, this year has shown the strength of the domestic collector base, and the ability of domestic auction houses to attract top quality consignments. Poly Auction’s spring sales (all categories) from 2010 became the highest ever grossing auction season in mainland China. The total of $497m was significantly higher than Christie’s Hong Kong ($297m) and Sotheby’s Hong Kong ($257m) and shows a clear indication of the strength of mainland Chinese buyers.


Depending on what happens this month, the barometer for the global art market may no longer be the historically important New York autumn sales, but rather what is happening in Hong Kong and Beijing.


The writer is founder and managing director, ArtTactic.com

Art and antiques show solid long-term returns


Report suggests dealers perform particularly well, but auction houses less strong
By Melanie Gerlis | From issue 217, October 2010
Published online 29 Oct 10 (market)



Should these London traders turn to selling art?

LONDON. Despite the recent downturn, business has been better in the past few years for most sectors of the art market than it has been in other industries in the UK. The independent art market analyst James Goodwin measured the Return on Capital Employed (RoCE) for 56 UK-based contemporary and modern galleries and found an average return of 25% between 2007 and 2008, and of nearly 34% for the ten years between 1999 and 2009. RoCE is a frequently used measure of profitability that takes into account the amount invested into a company.


“I don’t think many galleries would say that they hadn’t been affected by the recession, but those who have survived are those who have the strongest programmes and the right strategy,” said dealer Alison Jacques whose gallery is included in the data.


Returns in other segments of the market were also strong with antique dealers coming out the best at around 60%. Goodwin points out that, despite the relatively recent surge in enthusiasm for modern and contemporary art, this market “retracts more than the antiques market during recessions, as we have long believed but not proved”.


Old master dealers also fared well in 2007-08, with a 36% return, although this fell to 4.4% in 2008-09 and showed a lower return than contemporary and modern galleries over ten years (an average 21%). Trading in jewellery, coins and medals most often resulted in a negative return on capital employed between 2007 and 2008, suggesting the market’s appetite for such collectables continues to be tested.


Most sectors of the art market performed better than other industries. Wine merchants were at the lower end of the scale, turning in an average of 10% RoCE and—perhaps more surprisingly—the high volume auction house sector had an average return of 16% in 2007-08, and 17% for the ten years between 1999 and 2009. This reflects in part the high costs involved in major auctions, says Goodwin, as well as the range of works traded, some of which have lower margins. His analysis of eight auction houses included Sotheby’s, Christie’s and Phillips de Pury.


For the UK as a whole, RoCE in 2007-08 was lower than for most art market segments at around 9%. A recent survey by the accountancy firm BDO found that business optimism in the UK fell for the fifth month in a row in August with confidence dented by the prospect of government spending cuts.

jueves, 28 de octubre de 2010

Chinese Supercomputer Wrests Title From U.S.


Chinese Supercomputer Wrests Title From U.S.By ASHLEE VANCE
Published: October 28, 2010

A Chinese scientific research center has built the fastest supercomputer ever made, replacing the United States as maker of the swiftest machine, and giving China bragging rights as a technology superpower.

The Tianhe-1A computer in Tianjin, China, links thousands upon thousands of chips.
The computer, known as Tianhe-1A, has 1.4 times the horsepower of the current top computer, which is at a national laboratory in Tennessee, as measured by the standard test used to gauge how well the systems handle mathematical calculations, said Jack Dongarra, a University of Tennessee computer scientist who maintains the official supercomputer rankings.

Although the official list of the top 500 fastest machines, which comes out every six months, is not due to be completed by Mr. Dongarra until next week, he said the Chinese computer “blows away the existing No. 1 machine.” He added, “We don’t close the books until Nov. 1, but I would say it is unlikely we will see a system that is faster.”

Officials from the Chinese research center, the National University of Defense Technology, are expected to reveal the computer’s performance on Thursday at a conference in Beijing. The center says it is “under the dual supervision of the Ministry of National Defense and the Ministry of Education.”

The race to build the fastest supercomputer has become a source of national pride as these machines are valued for their ability to solve problems critical to national interests in areas like defense, energy, finance and science. Supercomputing technology also finds its way into mainstream business; oil and gas companies use it to find reservoirs and Wall Street traders use it for superquick automated trades. Procter & Gamble even uses supercomputers to make sure that Pringles go into cans without breaking.

And typically, research centers with large supercomputers are magnets for top scientific talent, adding significance to the presence of the machines well beyond just cranking through calculations.

Over the last decade, the Chinese have steadily inched up in the rankings of supercomputers. Tianhe-1A stands as the culmination of billions of dollars in investment and scientific development, as China has gone from a computing afterthought to a world technology superpower.

“What is scary about this is that the U.S. dominance in high-performance computing is at risk,” said Wu-chun Feng, a supercomputing expert and professor at Virginia Polytechnic Institute and State University. “One could argue that this hits the foundation of our economic future.”

Modern supercomputers are built by combining thousands of small computer servers and using software to turn them into a single entity. In that sense, any organization with enough money and expertise can buy what amount to off-the-shelf components and create a fast machine.

The Chinese system follows that model by linking thousands upon thousands of chips made by the American companies Intel and Nvidia. But the secret sauce behind the system — and the technological achievement — is the interconnect, or networking technology, developed by Chinese researchers that shuttles data back and forth across the smaller computers at breakneck rates, Mr. Dongarra said.

“That technology was built by them,” Mr. Dongarra said. “They are taking supercomputing very seriously and making a deep commitment.”

The Chinese interconnect can handle data at about twice the speed of a common interconnect called InfiniBand used in many supercomputers.

For decades, the United States has developed most of the underlying technology that goes into the massive supercomputers and has built the largest, fastest machines at research laboratories and universities. Some of the top systems simulate the effects of nuclear weapons, while others predict the weather and aid in energy research.

In 2002, the United States lost its crown as supercomputing kingpin for the first time in stunning fashion when Japan unveiled a machine with more horsepower than the top 20 American computers combined. The United States government responded in kind, forming groups to plot a comeback and pouring money into supercomputing projects. The United States regained its leadership status in 2004, and has kept it, until now.

At the computing conference on Thursday in China, the researchers will discuss how they are using the new system for scientific research in fields like astrophysics and bio-molecular modeling. Tianhe-1A, which is housed in a building at the National Supercomputing Center in Tianjin, can perform mathematical operations about 29 million times faster than one of the earliest supercomputers, built in 1976.

For the record, it performs 2.5 times 10 to the 15th power mathematical operations per second.

Mr. Dongarra said a long-running Chinese project to build chips to rival those from Intel and others remained under way and looked promising. “It’s not quite there yet, but it will be in a year or two,” he said.

He also said that in November, when the list comes out, he expected a second Chinese computer to be in the top five, culminating years of investment.

“The Japanese came out of nowhere and really caught people off guard,” Mr. Feng said. “With China, you could see this one coming.”

Steven J. Wallach, a well-known computer designer, played down the importance of taking the top spot on the supercomputer rankings.

“It’s interesting, but it’s like getting to the four-minute mile,” Mr. Wallach said. “The world didn’t stop. This is just a snapshot in time.”

The research labs often spend weeks tuning their systems to perform well on the standard horsepower test. But just because a system can hammer through trillions of calculations per second does not mean it will do well on the specialized jobs that researchers want to use it for, Mr. Wallach added.

The United States has plans in place to make much faster machines out of proprietary components and to advance the software used by these systems so that they are easy for researchers to use. But those computers remain years away, and for now, China is king.

“They want to show they are No. 1 in the world, no matter what it is,” Mr. Wallach said. “I don’t blame them.”

A version of this article appeared in print on October 28, 2010, on page A1 of the New York edition.

miércoles, 27 de octubre de 2010

Iss minacciata da spazzatura spaziale


La stazione spaziale Iss che orbita intorno alla terra vista con la luna sullo sfondo da Gyoerugfalu, 125 km a ovest da Budapest, in Ungheria, durante la notte del 21 ottobre 2010 (Epa)


La stazione orbitale costretta a cambiare rotta
rischio COLLISIONE. Iss minacciata da spazzatura spaziale

MILANO - La stazione orbitale internazionale Iss è a rischio collisione con spazzatura spaziale: lo ha reso noto oggi il centro di controllo della missione russa, che ha deciso un urgente cambiamento di rotta. «La manovra verrà effettuata alle 14.25 ora di Mosca» (le 12.25 italiane), ha riferito il portavoce del centro di controllo russo, Valery Lyndin. «I motori verranno avviati per 180 secondi, ciò provocherà un aumento della velocità di 0,4 metri al secondo, che permetterà di scansare il pericolo», ha aggiunto Lyndin. La manovra dovrebbe consentire alla stazione spaziale di allontanare la minaccia che rimarrebbe così 50 metri sopra la stazione, 500 metri di fianco e 1km e 300 metri dietro. Una fonte del centro di controllo russo ha affermato inoltre che l'operazione era necessaria in quanto le probabilità di collisione erano molto alte. (fonte: Ansa)

Encased in Amber, a Trove of New Species


By SINDYA N. BHANOO
Published: October 25, 2010

An amber excavation in western India has led to the discovery of more than 700 ancient insects, arachnids and crustaceans, and many plant, floral and fungal remains.

“We have at least 100 new species of insects, possibly many more,” said David Grimaldi, one of the study’s authors and an entomologist at the American Museum of Natural History in New York.

The specimens are estimated to be about 50 million to 53 million years old. The area was then a lush tropical rain forest, similar to the forests found today in Borneo and other parts of Southeast Asia.

Researchers from the United States, Germany and India reported these findings in the Proceedings of the National Academy of Sciences. They found that there were similarities between the new specimens and fossils found in Mexico and Central America.

Dr. Grimaldi said that about 100 million years ago, India, Madagascar, the Seychelles and Sri Lanka broke off from Gondwana, a landmass that also encompassed land that became four present-day continents: Africa, Antarctica, Australia and South America.

After separating from present-day Africa, India began drifting. Eventually, after about 50 million years, India collided with Asia, creating the Himalayas.

“If anything, we thought the fossils would be unique or have obvious connections to Africa or Madagascar,” Dr. Grimaldi said. “This suggests that India was not as isolated at that time period as we thought, and that it’s possible there were other geologic scenarios.”

In addition, the researchers found mammalian remains that need further study, including those of bats, primates and primitive rabbits.

The plant specimens also need to be looked at more closely by a paleobotanist, who can determine how many previously unknown species were found.

A version of this article appeared in print on October 26, 2010, on page D3 of the New York edition..

martes, 26 de octubre de 2010

Life aboard the International Space Station



It's 10 years since the first crew entered the International Space Station 220 miles above the Earth. But what is it like aboard a big tin can travelling at 17,500mph?
Ian Sample guardian.co.uk, Sunday 24 October 2010 21.00 BST Article history

At 6.41pm this Thursday, a small bright light will appear low in the night sky before vanishing in the darkness. Few people will notice and even fewer will care, but for a handful of souls that speck on the horizon is a place called home.

From down here on Earth there is little more to see, but close up the spot takes on a more complex form: a shiny hulk of interconnecting tubes and metal trusses bracketed by giant wing-like panels. As roomy as a five-bedroom house, these are the most extreme living quarters ever built. What looks like a wandering star in the heavens is sunlight reflecting off the International Space Station.

With more than a decade of construction now coming to an end (next week's shuttle mission leaves only two more before the fleet is mothballed), astronauts can finally look forward to stretching out and using the space station to the full. If the experiences of those who helped build and man the station are anything to go by, they are in for an extraordinary time. "I still can't believe what I've seen sometimes," says Piers Sellers, the Sussex-born-boy-turned-Nasa-astronaut who took part in the most recent shuttle mission to the station in May. "Often it all comes back to me in dreams."

Next week, Nasa will commemorate 10 years of life on the space station (the first residents arrived on 2 November 2000), but fewer than 200 people have first-hand knowledge of life on board. Only a fraction have stayed more than six months on the largest orbiting spacecraft ever built. The longer the stint, the closer these veterans come to perfecting the art of life in freefall.

And falling it is. The footage of weightless, grinning astronauts pulling somersaults and chasing food through the air make it seem as though the space station is floating free from the pull of gravity. Nothing could be further from the truth. The orbiting outpost – all 450 tonnes of it – is forever falling to Earth and would crash-land were it not moving so fast as to maintain a gentle curve around the planet. In orbit, things are weightless simply because they are all falling at the same velocity.

To get to the space station takes two days, a journey dictated as much by its speed as its altitude. The station flies at an altitude of 220 miles or so (that's more than 30 times the cruising height of a jumbo jet), but is travelling at a breakneck 17,500mph. Before astronauts can clamber aboard, they first have to chase it down and pull alongside. Go by shuttle and you will need 900 tonnes of solid rocket fuel and half a million gallons of liquid oxygen and liquid hydrogen to burn in the main engine.

The shuttle approaches the space station from below and performs a graceful backwards somersault as it closes in. This gives the station crew a chance to take around 400 pictures of the shuttle's heat-shielded underbelly, which are beamed down to Nasa staff and examined for cracks and holes. The backflip was introduced after damage to protective tiles caused the space shuttle Columbia to burn up on re-entry in 2003.

Sussex-born Piers Sellers aboard the space station in 2002. Photograph: Nasa/EPA
The docking procedure is as slow and cautious as you might expect given the price tags of the spacecraft involved: $1.7bn (£1.1bn) for a shuttle and around $100bn (£64bn) for the space station. Once they are locked together – a move that ends with a gentle lurch – it takes half an hour or so to equalise the pressure and finally open hatches that separate the two crews. "You see these pale faces on the other side and they're always excited to see you. Sometimes it's been three months since they've seen anyone else," says Sellers.

In all, the living space on the station amounts to the equivalent of roughly one-and-a-half Boeing 747s. The main area was constructed piece by piece, by bolting giant can-shaped modules to each other to form one 74m-long tube. At one end are the Russian-built modules, with practical names such as Zvezda (Star) and Zarya (Sunrise). These connect (via an adaptor, naturally) to the more touchy-feely sounding US and European-built modules Unity, Destiny and Harmony. Storage facilities, laboratories and siderooms jut off this main tube, to give astronauts room to go about their business, do experiments and operate the space station's two robotic arms. Bolted across the station, making a cross at the point where the Russian and US sections meet, is a huge truss that carries 16 solar panels to provide electrical power.

The space station has a permanent crew of six, so the arrival of new faces is a cause for celebration. That said, even the most welcome visitors can cause havoc if they are inexperienced. There is a subtle art to moving around without crashing into anything – or, more annoyingly, others – knocking computers, equipment and other objects off the walls to which they are attached with Velcro pads. One serving shuttle pilot confessed to leaving a wake of laptops and other vital belongings behind him the first time he tried to fly from one room to another. "When you first turn up, you are like a bull in a china shop," he said. "I had no idea where to put any of it back."

In time, people hone the skill and can fly down the length of the station, straight as an arrow, without touching anything, except with their fingertips. People sit in mid air, tapping away at a computer, with only a toe hooked under a wall strap to anchor themselves. Then, with a flick of the hand, they'll float up to another computer and carry on typing there. Getting from one place to another is all the more difficult because up and down (and so left and right) have no absolute meaning. The ability to form a mental map of the space station – and then rotate it in 3D to suit your perspective – is a priceless skill for an astronaut.

In such close quarters personal hygiene is a must, but the weightless conditions make washing a delicate chore. Water droplets can cause choking if inhaled and can short-circuit equipment, so many astronauts use the music-festival favourite: moist wipes. All-male crews have been known to strip off and get wiping en masse, but mixed crews tend to take turns in a dedicated hygiene station. Hair-washing is trickier. Men tend to get military buzz cuts before a mission. Even Sunita Williams, who spent 195 consecutive days on the space station – a female record – had her long dark hair chopped to shoulder length but still had problems. "Washing took time. I'd squirt a little water under my hair, pat it down with my hand so it wasn't splashing everywhere, then put some shampoo in my hand and moosh it around. Then I'd wet a towel and try and soak it up. I usually did it on a weekend when we didn't have a whole lot of other things to do," she says. Going to the toilet takes a little practice too, but is less traumatic following a redesign that saw plastic bags replaced with a suction-system toilet, like the ones used on planes. The astronauts' urine, incidentally, is recycled into clean water.

Living in a weightless environment does curious things to the body; after all, our entire physiology evolved in the presence of gravity. On their first day or two in space, some astronauts feel queasy, a condition referred to in Nasa-speak as "stomach awareness". Body fluids that are settled on Earth move up to the head, leaving astronauts with scrawny-looking chicken legs and bloated faces, which has the happy side-effect of erasing wrinkles and making space station crews look years younger, if only temporarily.

On the downside, many astronauts feel congested in space and lose much of their sense of smell. Unless there is a problem with the station's plumbing (and there has been), or someone's lunch has floated off and got lost in a nook or cranny (as has happened), there isn't much to smell on board, because air scrubbers filter out any odours as the air is circulated. Taste is another casualty. "We get a drawer with our name on it and select all our meals before we go, but nothing tastes like it does on Earth. It all tastes like cardboard," says Sellers. "We get through gallons of Tabasco sauce." If you want to know how hard it is to swallow in space, try eating while lying on one side, he suggests.

With no gravity exerting itself on the body, both bones and muscles begin to waste. For every month in space, astronauts lose around 2% of their bone mass. On long stays aboard the space station, crews spend at least two hours a day exercising to keep themselves from becoming frail, splitting their time between a treadmill, a bicycle and a machine that simulates weightlifting.

It takes the space station one and a half hours to fly around the planet, making for 16 complete laps a day. For those on board, the visual effect is spectacular. Open the covers over the windows and the light can be so blinding that astronauts reach for their sunglasses. But after 45 minutes of daylight, a dark line appears on the planet, dividing Earth into night and day. For a couple of seconds, the space station is bathed in a coppery light and then complete darkness. Another 45 minutes later, and just as abruptly, the sun rises to fill the station with brilliant light again.

The onslaught of apparent days and nights would play havoc with astronauts' body clocks, so a shutters-down and bedtime schedule is imposed by mission controllers. Each of the crew has a closet-like cabin where they can hook a sleeping bag to the wall and settle down for the night. Some strap pillows to their heads to make it feel more like lying down. The lights don't go out completely, though. People dozing in orbit see streaks and bursts of bright colour caused by high-energy cosmic rays painlessly slamming into their retinas. Fans and air filters add to the distractions, so some astronauts wear ear plugs to block out the constant hum.

Unsurprisingly, falling asleep can take some getting used to. Just as you are nodding off, you can feel as though you've fallen off a 10-storey building. People who look half asleep will suddenly throw their heads back with a start and fling out their arms. It gets easier with time. One Russian crew member is renowned for doing without a sleeping bag and falling asleep wherever he ends the day. Anyone still awake after bedtime would see his snoozing form drift by, slowly bouncing off the walls, his course set by the air currents that gently pushed and pulled him.

Newcomers are always in awe of the views. It is the sight of our planet that takes the breath away. On board, the best vantage point is from the gun-turret-like cupola whose six windows look down on a panoramic view of Earth. But for the really exceptional vistas, you need to step outside.

During the last shuttle mission in May, a major computer failure left Nasa astronaut Garrett Reisman stuck with what must be one of the most striking views imaginable. The station's 65ft-long robotic arm is used to move equipment from one place to another, but sometimes an astronaut climbs on the end to help. On 17 May, Reisman was standing there, his feet clipped into a footplate, when a computer crashed and the arm froze. Reisman had 25 minutes to take in the scenery.

Space walkers see whole continents, mountain ranges, cities, aircraft contrails and the wakes of ships crossing the oceans. Though hurtling through space, the senses are rarely aware of the velocity. "Sometimes you feel that you are on this big flying building and it's going round the world, but most commonly you feel that someone is rolling this huge ball-shaped map beneath you. You have no feeling of motion," says Sellers.

In lieu of an alarm clock, sleeping crews are woken by music played over the PA system by Nasa staff on the ground. Each day the track is dedicated to a particular astronaut and chosen by their spouse or a colleague. It was Reisman's turn the morning after his eventful spacewalk and so, thanks to his wife, the orbiting vessel of sleeping bodies was roused at 1.50am central daylight time by the Village People singing Macho Man. "That was a total surprise to me," says Reisman. Later on in the mission, when the shuttle had undocked, its own crew woke one morning to the theme tune from Wallace and Gromit. The next day it was Muse's Supermassive Black Hole.

Most shuttle missions take astronauts to the space station for two weeks or so, during which every working day is intense. As soon as the wake-up music begins, printers start chattering out instructions for the day ahead. Almost every hour is scheduled, with crew members' tasks and the tools they will need choreographed by logistics experts on the ground making sure no one gets in anyone's way. At least that is the theory. The crews meet for breakfast, get briefed on the day's jobs, then scatter, breaking only for lunch and dinner.

Short visits to the space station are relentless but easier to cope with psychologically than longer ones. Frank de Winne, a Belgian astronaut and former test pilot, spent nine days on the space station in 2002 and returned for a six-month trip last year, when he became the first European commander of the space station. "If you are there for a week or two, you are basically on a high the whole time. It's not the same when you're there for six months. You need to manage your mood and motivation despite inevitable setbacks. Things that are difficult in the short term, such as not having a shower or any fresh fruit, become part of normal life. The things you really miss are close contact with your wife, your kids and your family and friends," he says. The crews are not completely cut off from those back home, and use email and the station's phone to get in touch when there is time.

The space station will be orbiting Earth for at least another five years, but probably much longer. Of the agencies that pay for it, only the 18-member European Space Agency has yet to finalise plans to keep it in orbit until 2020. Further moves are afoot to keep the station flying until 2028; with the space shuttle about to retire, it will be left to the Russian Soyuz capsule to ferry people back and forth.

For those who built the space station, and the thousands of support staff at agencies around the world, seeing its bright light shooting across the sky at night evokes feelings few others will understand. "You can go out on a quiet night and see the thing flying over and you think, my goodness, I was there, I helped put that together," says Sellers. "When we see it here in Houston, we think of them on board, all in their sleeping bags, tumbling around the Earth. Everybody here feels they own a little piece of it. It's a lasting achievement."

ROA's graffiti rabbit faces removal by Hackney council


Renowned Belgian street artist's rabbit – painted on side of recording studio – under threat
Adam Gabbatt guardian.co.uk, Monday 25 October 2010 23.12 BST Article history

A piece of street art by an internationally renowned artist could be painted over after a council deemed it a blight on the local environment. ROA, a secretive Belgian street artist who, like Banksy, has showcased his work in east London, painted a 3.5m (12ft) rabbit on the side of a recording studio in Hackney last year.

The building's owners had granted the artist permission to create the piece, but they have been served with a removal notice by Hackney council, warning that unless they "remove or obliterate the graffiti" within 14 days, a council contractor will paint over the wall and charge them for the service.

"It's quite the opposite of what they're saying it is," said Julia Craik, managing director of Premises music studios and cafe. "It's not a blight – it really adds to the local area.

"If it was some horrible graffiti then they'd have a point, but it's a thing of beauty in Hackney Road, which is not the greatest area in the world. Among the bingo halls and shops you've got a really nice artwork, which really adds something."

ROA, who is in his early 30s, has risen to prominence over the last two years after starting out painting animal forms in a disused warehouse close to his native Ghent, in Belgium. His work can be seen in Manhattan and Brooklyn, in New York, and across Europe from Norway to Italy, while an upcoming commission will see him travel to São Paulo, in Brazil. His first solo show in the UK was staged at the Pure Evil gallery in Shoreditch, east London, this year, and he has had exhibitions in Paris in the last 12 months.

Charley Edwards, who runs the Pure Evil gallery, said: "It was the most successful show we've ever had in terms of people coming. You could hear the gasps as people walked in and saw his pieces.

"Banksy's obviously more famous, but I think ROA's work at the moment is really pushing it. What's interesting with ROA's work is how it interacts with the space it's in – he's done certain pieces where animals have been wrapped down the side of buildings."

Edwards was with ROA when he painted the threatened rabbit, and described it as typical of his work. "He talks about repopulating the city with animals and bringing them back into the city," Edwards said. "I think people really, really dig the rabbit – there's a certain character to it that people just love."

Hackney council said in a statement: "The graffiti ... is clearly visible from the road and, whilst it is not the council's position to make a judgment call on whether graffiti is art or not, our task is to keep Hackney's streets clean.

"As part of our enforcement policy, which is informed by Defra guidance, we initially contacted the property owner on an informal basis and offered advice, including what they needed to do if they wished to retain the piece of graffiti. This was followed by a letter and another visit to the property before the removal notice was served. However, we are currently holding our enforcement action to allow the owner a further opportunity to seek planning advice about retaining the piece."

Craik said she had replied to Hackney council in writing after receiving their letter this month, but was yet to hear back regarding the fate of the rabbit. "It could happen at any moment," she said. "We're constantly thinking 'are we going to come in tomorrow to no rabbit, and a massive bill.'"

Last year, Hackney was criticised after it painted over a Banksy cartoon of the royal family that had been present on a block of flats for more than eight years. In October 2008, Westminster city council removed a mural from Newman Street, in central London, after the council's deputy leader, Robert Davis, said keeping it would be "condoning" graffiti.

Other councils have adopted novel solutions to deciding whether or not a piece of graffiti should remain. Sutton invited residents to vote on whether a Banksy should remain. More than 90% of respondents wanted it to stay, but the mural was defaced by taggers before the vote closed.

Mark Rigney, who runs a walking tour featuring ROA's work, said: "Hackney council should realise that this art movement is a huge tourist attraction and people are crossing London and the globe to see the art upon the streets of Hackney, Islington and Tower Hamlets – areas which are often referred to as the epicentre for London street art."

Paul Gauguin, homme douteux, peintre enchanteur



Le Monde, 26/10/2010

C'est l'histoire d'un ancien trader devenu artiste et objet de scandale. Il a nom Paul Gauguin (1848-1903). La Tate Modern de Londres montre, en onze salles et une centaine de tableaux bien accrochés, mais aussi des sculptures, des dessins, des gravures, des fragments de correspondances et des photographies, comment le petit banquier a forgé son propre mythe, jusqu'à se prendre de passion pour ceux des autres et achever sa vie dans la mouise, mais au paradis terrestre.

Durant l'été 1888, en Bretagne, Gauguin croise Paul Sérusier, qui peint sous sa houlette un paysage sur une boîte à cigares (Le Talisman, musée d'Orsay). Il lui donne ce conseil : "Comment voyez-vous ces arbres ? Ils sont jaunes. Eh bien, mettez du jaune ; cette ombre, plutôt bleue, peignez-la avec de l'outremer pur ; ces feuilles rouges ? Mettez du vermillon." L'exposition de Londres montre que Gauguin, pour les couleurs, y allait gaiement. Ses citrons sont acides, d'autant que leur jaune jouxte une ombre bleue - un contraste de couleurs complémentaires parmi les plus forts. Ses pommes sont de deux sortes : mûres et très rouges, ou cueillies trop tôt et bien vertes - autre contraste. Le Christ est jaune, mais la robe des paysannes agenouillées autour du calvaire d'un bleu soutenu, qui évoque le lapis-lazuli que les peintres anciens réservaient au manteau de la Vierge. Une leçon que les fauves, Matisse en tête, sauront retenir.

C'est la plus importante rétrospective Gauguin depuis celle du Grand Palais, à Paris, en 1989. Dès la première salle, le ton est donné : des autoportraits, de toutes ses périodes, venus souvent, comme le reste de l'exposition, de musées lointains, ou de collections privées dont on les extrait rarement.

Le voilà en 1876, coiffé d'un chapeau sans bords. A cette époque, le jeune agent de change peint le dimanche, assidûment, depuis trois ans. Il est doué, pour un amateur, mais le regard qu'il lance est celui d'un jeune homme qui doute.

Surtout si on le compare avec cet autre autoportrait, peint en 1893 : Gauguin apparaît toujours chapeauté, ses cheveux et sa moustache ont poussé, mais il brandit son pinceau comme une arme et sa palette comme un bouclier. Apparemment, le doute a disparu. Il est certes beaucoup moins fortuné que dans sa jeunesse financière, mais il doit revenir des îles vers Paris où, pense-t-il, on va l'accueillir en héros ; du moins est-il riche de cette espérance.

C'est qu'il lui en est advenu des choses, durant ces vingt ans de peinture. Le Salon de 1876 a accepté le premier envoi de l'amateur - un paysage. Les impressionnistes, non sans réticences de la part de certains, l'ont accueilli dans le groupe, et, en 1881, il a vendu son premier tableau au marchand Durand-Ruel pour la coquette somme de 1 500 francs. Comme la Bourse l'a aussi enrichi, et que son épouse danoise, Mette, met régulièrement au monde des petits Gauguin, l'avenir s'annonce radieux.

Las, en janvier 1882, c'est le crash. L'Union générale se déclare en faillite, les Bourses plongent. Gauguin décide de prendre le taureau par les cornes et, avec toute sa petite famille, abandonne Paris et la finance pour s'installer à Rouen où, c'est décidé, il sera peintre.

Une vaste exposition, qui a eu lieu l'été au Musée des beaux-arts de Rouen, a montré, à travers Monet, Pissarro et Gauguin, en quoi la ville normande était la "capitale des impressionnistes ". Car Rouen ne manque pas de charme : les loyers y sont bas, les collectionneurs gras et, sinon nombreux, du moins passionnés.

Gauguin se livre enfin tout entier à la peinture (une quarantaine de toiles répertoriées en dix mois), mais le succès ne vient pas. La famille émigre alors au Danemark. Gauguin y végète quelque temps, avant d'y abandonner femme et enfants pour commencer une vie aventureuse.

Il explorera les terres inconnues de haute et de basse Bretagne, devenant le leader charismatique de l'"école de Pont-Aven", naviguera jusqu'au Panama où, pour gagner des sous, il participe au creusement du Canal, tirera les oreilles de Van Gogh à Arles, rêvera de s'établir au Tonkin pour finalement échouer à Tahiti, puis aux îles Marquises, où il distribue généreusement les germes de la syphilis à de très jeunes filles.

L'homme, on le voit, est douteux. Le peintre, en revanche, est enchanteur. Il a tout, le bougre : la fougue, la passion, la sensibilité, l'invention - la reine des facultés, à en croire Delacroix - et surtout le culot. On le constate dès la deuxième salle de l'exposition qui rassemble des oeuvres sur le thème de "rendre étrange le quotidien".

Un enfant dort dans son berceau, et ce sont les figures du papier peint qui s'animent et suggèrent son rêve. Un dessin de Delacroix qu'il reproduit pieusement, mais très librement, accroché à un mur, domine une nature morte où les rouges et les verts chers aux deux artistes, Gauguin et son illustre devancier s'entrechoquent. Son ami Laval se penche sur des pommes et un objet étrange, assez repoussant : il s'agit en réalité d'une céramique, de Gauguin lui-même, une sorte de vase informe d'où surgit le visage d'une femme. L'objet original figure aussi dans l'exposition.

Car il sculpte aussi, l'animal ! Des vases vaguement anthropomorphes, au début, puis le voilà qui taille le bois, se fabrique une canne, ou des sabots (pour la Bretagne), s'inspire de la facture des idoles océaniennes pour représenter les rudes beautés des îles auxquelles il conseille : "Soyez amoureuses, vous serez heureuses."

Ailleurs, un faune moustachu, qui lui ressemble assez, culbute gaillardement une demoiselle, et l'encadrement qu'il sculpte pour la porte de sa case aux Marquises affiche fièrement la mention "Maison du jouir". Tout un programme, qu'il peut se vanter, plus d'un siècle après sa mort, de faire partager aux visiteurs de l'exposition : la plupart en ressortent béats.

Gérôme, le peintre qui maudissait l'art moderne


Le Monde, 26/10/2010

Le peintre Jean-Léon Gérôme (1824-1904) a longtemps été célèbre grâce aux dictionnaires et aux livres d'histoire qui reproduisaient largement ses reconstitutions historiques. Les professeurs de latin se servaient de ses combats de gladiateurs pour illustrer les moeurs dépravées de l'Empire romain, et les professeurs de catéchisme édifiaient les jeunes âmes en leur montrant ses martyrs chrétiens livrés aux fauves. En noir et blanc, ses peintures paraissaient des photographies du passé, d'une confondante exactitude.

Puis elles ont disparu des livres. Parce que leur auteur tient dans l'histoire de l'art moderne un sale rôle, celui de l'ennemi obtus et méchant. A juste titre au demeurant. En 1884, Gérôme veut s'opposer à l'hommage posthume rendu à Manet, mort un an plus tôt, et propose que l'on accroche Olympia aux Folies-Bergère.

Dix ans plus tard, Gérôme combat le legs de la collection Caillebotte, tant et si bien que la moitié des toiles sont refusées - Monet, Cézanne et les autres. Il est du reste savoureux que son contemporain Monet, qu'il déteste, triomphe au même moment au Grand Palais, pas très loin d'Orsay.

En 1900, il choisit l'inauguration de l'Exposition universelle pour maudire la peinture moderne. A cette date, il enseigne à l'Ecole des beaux-arts depuis trente-sept ans, il est membre de l'Institut depuis plus de trois décennies, y ayant été propulsé à 41 ans. Dans ces deux lieux, il défend sa conception de l'art, fondée sur la prolifération des détails vrais, un illusionnisme perfectionné au plus haut point, une facture picturale lisse et neutre et un dessin qui proscrit toute abréviation comme toute déformation. L'impressionnisme ne peut donc que lui être qu'insupportable - et réciproquement.

Pourquoi alors lui consacrer au Musée d'Orsay une exposition en plus de 200 peintures, sculptures et dessins ? Pour une excellente raison : par son style illusionniste et spectaculaire et par le système de production qui en est inséparable, son oeuvre fait comprendre comment la peinture est devenue une industrie de l'image. Jean-Léon Gérôme, c'est le capitalisme appliqué aux beaux-arts. Il comprend magnifiquement son époque, au point de vue social et économique. D'autres sont alors aussi lucides que lui - tel Gauguin. Mais Gauguin déteste la société qu'il voit naître, alors que Gérôme, par commodité ou cynisme, en tire avantage.

Sa tactique repose sur une évidence. Vers le milieu du XIXe siècle, le développement de la bourgeoisie fait de l'art une affaire de plus en plus générale : le Salon reçoit des dizaines de milliers de visiteurs, dont beaucoup sont des acheteurs potentiels. Il faut s'adresser à ce nouveau public et, pour attirer son attention, se servir d'une autre puissance montante, la presse. En 1850, Gérôme expose donc au Salon son Intérieur grec : quatre filles nues, dont trois dans des poses lascives, et, près d'elles, un peu dans l'ombre, deux hommes. L'allusion sexuelle est flagrante. La toile fait scandale dans les journaux. Un cousin de Napoléon III l'achète.

Ce lancement mondain vaut mieux que le prix de Rome, que Gérôme a manqué trois ans plus tôt. Désormais, il est connu - et encore plus après la Sortie du bal masqué, scène de duel tragique et neigeuse présentée au Salon de 1857. Cette fois, c'est le duc d'Aumale qui achète.

C'est à ce moment que Gérôme démontre toute l'étendue de son génie. Vendre une toile à un duc, c'est bien. Mais, des milliers d'admirateurs anonymes, il serait dommage de ne tirer aucun bénéfice. Par chance, les techniques de reproduction mécaniques se développent. Lithographie et photographie ne cessent de s'améliorer.

En 1859, Gérôme s'associe avec un éditeur, Adolphe Goupil, spécialisé dans ces industries. En 1863, il épouse une de ses filles. Alliance féconde : deux enfants, mais surtout des centaines de milliers de cartes postales et clichés plus ou moins grands et plus ou moins joliment tirés. Il y en a à tous les prix. Tout le monde ne peut s'acheter un tableau, mais qui ne pourrait se payer une petite image ? Il ne reste plus à Gérôme qu'à alimenter les machines de Goupil avec des toiles destinées à être converties en clichés pour le monde entier.

Ce système exige qu'il demeure fidèle à son illusionnisme minutieux - la clientèle veut du bien fait - et qu'il trouve des sujets qui plaisent, romanesques pour les dames, grivois pour les messieurs. Il diversifie l'offre pour vendre mieux. Vous voulez de l'érotisme ? Achetez Phryné devant l'aréopage, les harems, les intérieurs d'atelier avec modèle sans voile - et sans un poil, car il ne faut pas aller trop loin. Vous cherchez du pathétique, du sanglant ? Voici les rétiaires que l'on achève et les martyrs que les lions décapitent et éventrent dans de grandes flaques de carmin. De l'exotique ? Choisissez entre caravaniers, muezzins et marchands d'esclaves (nues, bien sûr). Du patriotique bien français ? Nous avons du Louis XIV et du Napoléon en rayon.

Vers 1870, Gérôme fait mieux encore. Il se met à convertir les personnages de ses tableaux en sculptures. Celles-ci sont fabriquées en plusieurs dimensions et différents matériaux, du petit bronze bon marché à la figure grandeur nature en marbre rehaussé de bronze doré et de pierres précieuses, très onéreuse. Il invente ainsi ce qui se nomme aujourd'hui dans les musées "produits dérivés". Le vrai précurseur du XXe siècle, en 1850, c'était donc lui.


--------------------------------------------------------------------------------

Cuando las mucosas son arte


Una empresa española propone convertir la información genética en obras artísticas únicas
MANUEL CUÉLLAR - Madrid - 25/10/2010. El País.

¿Qué le parecería convertir un escupitajo propio en una obra de arte? En principio la propuesta suena a guarrada, pero el resultado puede ser un complemento curioso para decorar el salón de su casa.

parecido al de la serie CSI a su servicio, pero sin crímenes de por medio. Esta es la propuesta de GeneticPhotos, una empresa pionera en España y que dice estar "orgullosa de presentar el ADN convertido en arte, combinando la elegancia, el arte contemporáneo, los últimos avances tecnológicos y el rigor de la ciencia", según palabras de Laura Soteres, directora de la compañía.

Los pasos son sencillos. Te metes en su página web y decides formato e información que quieres que contenga la imagen de tu ADN. Una vez decidido lo comunicas vía correo electrónico, lo que significa que GeneticPhotos te enviará un sobre conteniendo un par de bastoncillos y dos tubos de ensayo. Se frotan los bastoncillos contra la parte interior de las mejillas y se devuelven por correo a la dirección ya impresa en el sobre: es decir, el laboratorio. Allí, comienza el camino para que en el plazo de unas dos semanas puedas recoger el resultado.

Cada obra de arte es un ejemplar único puesto que nadie tiene el mismo perfil genético o huella genética de ADN. Este carácter único viene determinado por nuestros genes. Los genes no son sino largas secuencias escritas en un código que determinan las bases del ADN. Por eso, la obra estará inspirada en cada uno de nosotros que decidiremos a qué parte de la cadena genética queremos destacar.

Por ejemplo, en la obra de arte genética se podrá ver expresada alguna característica que predomine y se pueda leer en los genes como la predisposición para el deporte, las matemáticas, las relaciones sociales.

Para evitar suspicacias, Laura Soteres deja claro que todas las muestras que se reciben se tratan con un código alfanumérico. "Cuando recibimos un pedido, enviamos un kit de recolección de ADN identificado con dicho código, junto con la tarjeta de códigos de identificación según la obra de arte escogida. Nuestras obras de arte se entregan con un exclusivo certificado de autenticidad de GeneticPhotos. Para tener la total seguridad de que la obra de arte pertenece a tu muestra y a tu código alfanumérico, tu obra de arte irá identificada con el mismo código alfanumérico en el anverso o reverso de tu obra de arte, según el formato solicitado y el material que se elija y todos los profesionales involucrados en la creación de la obra de arte desconocen quién envió la muestra y trabajan exclusivamente con este código".

Los resultados son cuando menos curiosos. Unas obras que recuerdan por su sencillez y simplicidad a precursores del minimalismo como Mark Rothko o creadores del llamado arte repetitivo como Pablo Palazuelo. También se pueden realizar con códigos de colores o de letras y números. En cualquier caso, se trata de una nueva fusión entre tecnología y arte.

lunes, 25 de octubre de 2010

Philosophy Day Raises Questions Before It Begins



Photo: Ramin Jahanbegloo, an Iranian philosopher who now teaches at the University of Toronto, urged the director general of World Philosophy Day against holding the event in Iran.


By D.D. GUTTENPLAN
Published: October 24, 2010
The New York Times

LONDON — The idea was simple: each year, on the third Thursday in November, the United Nations Educational and Scientific Organization would hold an international gathering of philosophers for a day of rational discussion and free debate.

But this year, the celebration of World Philosophy Day has been overshadowed by a boycott organized by academics from around the world who say that by holding the event in Tehran, Unesco risks turning its “school of freedom” into a propaganda exercise for a brutal regime.

The first World Philosophy Day, in 2002, was a relatively quiet affair held at Unesco’s headquarters in Paris. Moufida Goucha, head of the organization’s Human Security, Democracy, and Philosophy Section, told delegates that the goal would be to ensure “debates in which each and every person should feel free to participate according to his or her convictions.” Three years later the event had become sufficiently important on the intellectual calendar to be moved out of Paris, first to Chile and then to Morocco, Turkey, Italy and Russia.

Ramin Jahanbegloo, an Iranian philosopher who now teaches at the University of Toronto, still remembers the excitement of debating the question “What is secularism?” at the Istanbul celebrations in 2007, an event he attended a few months after his release from jail in Iran, where he had been arrested because of “his contacts with foreigners.”

“I was arrested in Tehran in April 2006 and taken to Evin Prison,” he said in a recent interview. Istanbul also saw the publication of “Philosophy: A School of Freedom,” a 300-page document by Unesco on the “defense of the teaching of philosophy — a fertile guarantor of liberty and autonomy.”

Accused by the Iranian press of having links to the Central Intelligence Agency and to the Israeli security agency Mossad, Dr. Jahanbegloo had also been charged with bringing Western philosophers including Jürgen Habermas and the late Richard Rorty to Iran in a bid to foment a “velvet revolution.” He was released only after an international campaign and Dr. Jahanbegloo, the author of “Reading Gandhi in Tehran,” said he said in a recent interview that he considers himself lucky to have escaped with his life.

So when he learned that Unesco had decided to hold this year’s World Philosophy Day celebration in Iran, he wrote to the organization’s director general, Irina Bokova, urging her to reconsider.

“It is certain that under current conditions a World Philosophy Day could not be held in normal conditions in Iran and that many philosophers would not be able to attend freely,” he said.

This spring, after Unesco announced that the meeting would go ahead as planned, Dr. Jahanbegloo and two colleagues from the Italian journal Reset began to organize a boycott.

The politics of boycotts are never simple — especially when intellectuals are involved. Even the cultural boycott of South Africa, widely cited as helping to bring about the end of apartheid, remains controversial. In recent years the British Association of University Teachers passed — and then rescinded — a proposal for an academic boycott of Israel in protest of that country’s policies toward the Palestinians. Just last spring a proposal by the Student Senate at the University of California at Berkeley to divest from certain companies that supply the Israeli military divided that campus. And the response to the call to boycott Tehran next month has been far from unanimous.

“Since 2002 Iran has always participated in World Philosophy Day events,” said Sue Williams, a spokeswoman for Unesco. “So when Tehran offered to host an event this year, Unesco accepted.”

Dr. Jahanbegloo responded: “This is a government which has jailed scores of scholars and writers in the past five years, and where you have a total ban on independent thought and critical thinking.” He also pointed to President Mahmoud Ahmedinejad’s removal of Gholamreza Aavani as director of the Iranian Institute of Philosophy and his replacement by Gholam Ali Haddad Adel, a hardline politician whose daughter is married to the son of Iran’s supreme leader, Ayatollah Ali Khamenei.

“It’s as if they decided to hold a philosophy conference in Berlin in 1938 — with Goebbels as head of the conference!” Dr. Jahanbegloo said.

Brian Klug, who teaches philosophy at Oxford and is the author of “Being Jewish and Doing Justice,” said “As I see it, the reasons that have been given for not going are more like reasons for going: going and giving solidarity to those Iranian intellectuals who are opposed to their government’s infringements of human rights. Let the government of Iran be the one that does the boycotting,” he said, by “withdrawing invitations or forbidding would-be participants from participating.”

“Down the line, this might lay a basis for a public call to boycott the event. But that’s down the line.”

In July, the German philosopher Otfried Höffe, who had agreed to give the keynote speech in Tehran, announced that he would not be going to Iran. “Such a step requires not just a good, but a very good reason,” he told the German newspaper Frankfurter Allgemeine Zeitung, pointing to the installation of Mr. Haddad Adel as conference president and “the risk that World Philosophy Day” would be used by Mr. Ahmedinejad “as a propaganda platform. I shouldn’t be helping him do that.”

But Binesh Hass, an Iranian-Canadian doctoral student at Oxford, wrote on the Guardian Web site that isolating his country further “will only augment the impunity the government feels in the treatment of its people.”

Avishai Margalit, a philosophy professor at the Hebrew University in Jerusalem who also opposes the boycott, told The Wall Street Journal it was unlikely that Iran would allow Israelis to attend. However Unesco insists that all affiliates of the International Federation of Philosophical Societies, including Israel, have been invited to participate. “It is my understanding that nobody has been refused a visa,” Ms. Williams of Unesco said.

Even some supporters of the boycott have found the decision a difficult one. “I have a very special personal relationship with Iran,” Dr. Höffe said by telephone from his office in Tübingen. “Not only because I have supervised a number of Iranian students, but because I am the only foreign member of the Tehran Academy of Philosophy. In general I try to take part in intercultural discussions. But I wouldn’t go to North Korea. And I’d find it profoundly difficult to go to Cuba. With Iran however, as with Israel or China, I think you need to consider each case on its merits.”

Dr. Höffe’s objection to the official character of the Tehran conference, and the Iranian regime’s close control over it, has been echoed by Dr. Habermas, perhaps Germany’s most prominent public intellectual. In a e-mail message, Mr. Habermas said he “strongly” opposed “official contacts with representatives of the present government in Iran,” but warned “we should not make attempts to intervene in the domestic politics in Iran either.”

He said that when the former president Mohammad Khatami was still in office, “I had the opportunity to meet and have discussions with many of my colleagues in Tehran. These encounters filled me with great respect for the sophistication and scholarship of the academic elite of the country.”

On Sept. 27, opponents of the Tehran event gathered at the New School for Social Research in New York to plan an Alternative World Philosophy Day conference, to be held online. Meanwhile, there are signs that Unesco is beginning to waver. Ms. Williams, the Unesco spokeswoman, said that the organization had planned an additional special observance of World Philosophy Day this year, to take place at its Paris headquarters on Nov. 18. And while the Tehran conference will go ahead, there will also be events in cities around the world including Mexico City, Tunis and Dakar.

Ms. Williams denied that the apparent downgrading of Tehran had anything to do with the boycott campaign. But Giancarlo Bosetti, editor of Reset and an organizer of the protest, said that it was the New York meeting that had pushed Unesco to act. “They did what they could — and that was quite a lot,” he said.