I did not know Sophie Calle until the autumn of 2006 when in my sixty seventh year. I regret this alongside my failure to understand performance and concept art until making the effort in the summer of 2002 after the opening of the Baltic contemporary art space on Tyneside and seeing the film on the life of Jackson Pollock. It was not until a visit to London a few weeks later that I bought the Nikos Stangos editing book Concepts of Modern Art and the last two chapters Christopher Reed on Modernism and Identity and Roberta Smith on Conceptual Art changed my life in a more fundamental way than the discovery in 1999 that my father had become the Catholic Vicar General of Gibraltar.
I do not mean know in the biblical sense, although my accumulated experience suggests that we can know more of an individual through their work than by living with them. What we know is our interaction with the time period of their work or our period of direct contact and even where another discloses their thoughts, internal images and sensations, it is always an edited experience and with only limited disclosure of their subconscious for those able to interpret with some accuracy.
In 2006 I had not been to contemporary theatre, or out to much else between 2003 and 2006, fully engaged as I was in the creation of the installation then called 101 Public and Private Art and now 100.75 Public and Private Art. until the redesigned Newcastle Playhouse was open again. On the 27th of September 2006 I visited to new second space at the theatre to see Exquisite Pain, a performance art work lasting two and a half hours without interruption and created by someone called Sophie Calle. I liked the old second space at the Playhouse which I previously visited usually to see actors of the Royal Shakespeare company because of the intimacy between the players and the audience less than 100 souls sitting within the performance space. Now the space was on the ground floor and could become an additional back space to the main space and auditorium, to as in the instance of this first use as a separate space a second auditorium with perhaps 200 uncomfortable seats in a traditional single slope to the theatre. I had not made an immediate note but written about the experience for my AOL Blog a month later 26.10.2006 and which I then published in a revised form here on as 31 in March 2007 and then on Google this year as 1031.
I had used Jokerman script for the original piece.“26.10.2006 .The use of Jokerman script for Exquisite Pain (27.09.2006 Newcastle Playhouse) is at one level appropriate. It is not a play but a performance art work where the setting of a seated audience for two and a half hours is inappropriate, one needed to be able to walk about” and in my instance join in.
“12.03.2007 if you have not been to the theatre to experience acting for sometime then Exquisite Pain is not the work to go and see. It is not a play but performance art using exceptionally talented actors. (I can say this because I also watched them perform a total theatre experience of the history of The World in Pictures, two days later).
You sit with increasing discomfort for two and a half hours without interruption. The discomfort is physical and emotional and is an appropriate way to experience the work. I would have preferred to have walked about a bit but keeping within listening distance.
This autobiographical work, previously performed by the artist and available in book form, is by Sophie Calle, born in Paris in 1953. In 1985 her lover and older man failed to meet her as arranged in New Delhi midway between where she had been for several months and experience, rather than traumatised and was able to work through the disappointment, humiliation, and victim guilt, because she was a creative using photo, memorabilia and words, but kept a record of how her perception of the event changed through linear time.”
“26.10.2006 The performance consists of one person telling the story of dealing with a traumatic experience and how the view of that experience changes over time, one blames oneself, where she had previously lived, She was devastated by the one blames the other person one gets angry at being affected so much yet because one wanted and hopes for resolution reconciliation one clings the hope for a different outcome because that it is a possibility but the reality is that when you compare such an experience with the experience of others you realise that however painful, it is insignificant to the realities of the succession of tragedies and horrors of others which are told in a dead pan and sometimes humorous way.”
13.03.2007 Sophie Calle could have just created a performance work in which she recounted the same experience over the subsequent days, weeks and months, reporting and observing changes in detail, consideration, feelings, attitude and judgement. This could have been a complete work. She did not.
On her return to Paris, she asked a group of friends to answer the question, "When did you most suffer?" Their stories of pain, each of them accompanied by a photograph, interplay with Calle's own story and daily reflections—"It is now seventy-five days since the man I love left me"—creating a testament to the heartache of romantic rejection. 130 illustrations, 71 in colour available through Amazon.”
30.11.2009. I write this on the train to Newcastle. Sophie appears to see herself first as a voyeur albeit a self controlled one me thinks, and an exhibitionist second. Both words tend to be regarded in only a pejorative way by the popular media and have conditioned the general public accordingly. Both require courage whether undertaken in a public or private way.
“27.09.2006 the university car park was free tonight, I usually pay £2. I enjoyed the salad and timed everything much better. It is the right thing to do to take the car although it would be sensible to work out the motorway way route back. It is ridiculous that you cannot enter the theatre at this level with the choice if steep steps or walking around the theatre up the slope.”
“28.02.2007. The revised travel arrangements to the Playhouse and other evening outings to Newcastle are now working well. I still visit my mother and then take the car to the Hewarth short stay car park adjacent to the taxi rank and metro station. I eat the picnic meal in the car and then continue the journey by metro train. On the way there is now a sign which suggests it might be possible to enter the theatre directly from the car park. It is.”
30.11.2009 The University has now built its main public reception building on the car park and there is now a grand staircase entrance by the side of the building which leads to the space with the splendid university student union building on one side and the Playhouse Theatre on the other. I assume one can no longer take the car close the theatre anymore but have not taken time to explore this further or been to the theatre for a year.
“27.09.2006 this is my first experience of the new second theatre space. For on the Town when both spaces were combined the audience sat on tiered seating the width of the second space facing into the main auditorium and banked seating. Previously we sat on similar seating in a semi circle around the stage which I like to call eyeball theatre. Now there is conventional tiered seating with not much space to move legs unless you sit on an aisle or the front row where you will feel part of the performance. I chickened out and sat mid row, fortunately one vacant seat so there was some manoeuvrability. My ticket was free as part of a five main theatre subscription packaged. Many in the audience were students. Unsurprisingly there was a plea for funds at the end and I decide to give £10 which is slightly more than the average of £7 requested. Free programme included.”
“13.03.2007. The incorporation of the stories of the experiences of Calle's friends was inspirational. Each story communicates an aspect of physical and emotional pain but the accumulation of experience helps to put her experience into perspective
At the end of the World in Pictures chorus makes the valid point that however much the average member of the audience enjoys, appreciates, is moved or challenged by the event, it will become submerged under layers of new experiences of varying intensity and significance.”
26.10.2006 There was also an after performance session with the two actors, and the company director chaired by a local cultural figure. I had only 'discovered' this extraordinary company through the internet during the afternoon beforehand and had become so interested that I abandoned my work programme. The amazing aspect is that the core actors had been together throughout their working lives having come together at university. At the discussion I made a clanger by concertinaing this time, having misinterpreted an aspect of the internet information. I also wanted to know if the order in which the stories of the friends are recounted is changed according performance. It is not although if the work was mine I would have included the variations”- to see if by doing so my view of what had happened to me, changed 30.11.2009.
“13.03.2007. Calle's work and the performance by the Forced Entertainment company is at the core of my work and confirms that what I am doing is only original in its particular form, at least I hope that this is the position, but the concepts are already aspects of the work of professional contemporary creative of international reputation. However I do not regret only entering back through the portal of my occupational dimension of four decades into my first period of full time creative endeavour. Now I have a lot to say even if I continued to be limited in the means of expression.”
29.11.2009. I have met Sophie Calle again two days ago. The experience was unplanned because at the last moment I had a free day in London and had read Time Out, looking first at the cinema listing and discovering that a film about the Seraphine of Senlis was to open at midday, decided to attend the first performance the Curzon Renoir in Brunswick Square. I then looked at the major space exhibitions which are listed alphabetically but on the third page under Critic‘s choice there was her name Sophie Calle, announcing that she was revealing more of herself at the Whitechapel Gallery from 11am. This became my priority visit until an evening engagement and I quickly worked out how to get to Aldegate East which is behind the City area where I had worked 50 years ago unsuccessfully trying to sell office machines for an Italian company and on a road to Stratford from Tower Bridge which I used several times a year over a period of several years.
I should have arrived for 11 but made a mess of the travel as a consequence of devoting insufficient time to learning the route from East Croydon Station. As will be evident to anyone reading any of my writing I have a learning disability which prevents the immediate recollection of grammar and vocabulary and to ensure that I remember anything and although I spell check, reread and revise any writing, usually once, I continue to find errors, sometimes rendering a sentence incomprehensible. I sometimes leave my work uncorrected.
30.11 2009. For some reason about which I am no longer sure I took the train to London Bridge rather than direct to St Pancras and this resulted in having to climb the stairs at London bridge over platforms and then down to the platform, where fortunately the train from East Croydon to Bedford arrived a few minutes later. I had not lost time but had the additional effort. However what I should have done is get off at Farringdon and take the Hammersmith and City Line to Aldegate East from there. Instead I continued to St Pancras and then had to walk the full length the station to the booking hall at the front and to the Hammersmith and City line which is one the same platform at the circle and district lines. As I was to discover on my way to King Cross station later that evening there is now a new booking hall between the far end of St Pancras and the present side entrance into Kings Cross and which was opened to the public for the first time on Sunday. I do not know if this will also cut the distance to the Hammersmith and city line.
In any event having arrived at the St Pancras platform trains came and departed along the other routes for 15 to 20 minutes before one of two trains in succession going towards Aldegate East were announced. Thus I had extended the journey time by half an hour and it was after 11 before I arrived at the art space and was pleasantly surprised to find that the station entrance and exist is part of the gallery building and that for several years I had driven along the road on my way from Wallington via Tower Bridge to Stratford. I also quickly realised it was in the area where the British Olivetti City office had been located and where each day accompanied with other members of the selling team we had made our way to a bacon roll and coffee breakfast hideaway from the supervisor.
I m just have the address somewhere which I hope to find one day, although the breakfast cafe may be long gone as much of this part of London.
Petticoat Lane is as always but with little evidence of customers on the Friday. From Wikipedia I gather that on Sunday morning there can be as many a thousand stalls covering the wider area and while tourists visit it remains primarily a place to go for clothing. I was struck by two neighbouring shops which specialised in formal suits and dresses for young people, including waistcoats. I assume this is for formal occasions as I cannot recall seeing a child in such attire. There were also two stalls/shops selling luggage at very low prices. Nearby is Brick Lane and its market of fruit and vegetable and which is the home of the Bangladeshi community in this part of London an area previously occupied by Irish and then Jewish immigrants. On my explore I discovered Toynbee Hall the original University Settlement Hall in which those interested in social work could provide services to the underclass in the local community and which continues to this day in an area now overshadowed by the Gherkin and other City Towers and the encroachment of corporations and hotel chains. Lenin visited Toynbee Hall and Clem Atlee worked there as did Lord Profumo who devoted his life there after the Keeler Scandal.
Later after the visit to the Whitechapel Gallery I found an area of street seating close to the East London Mosque which can accommodate 4500 people, next to which is also the London Muslim Centre, which has facilities for several thousand, for the purpose of eating the prepared salad brought with the previous day. Nearby was the London Bell Centre workshops and a little way further along I passed a small group of beautifully attire young Muslim women standing talking and giggly oblivious that they had stopped across the road from the Nag’s Head Gentleman’s club out of wish an Asian gentleman was exiting. I wonder if the various Royals and national politicians who have visited the Mosque and centre noted the incongruity of local authority planning approval being given for such a facility in this neighbourhood.
I knew of the Whitechapel gallery but had no knowledge of the nature of its space which is not surprising as after closure it reopened only earlier this year having doubled in size following expenditure of £13.5million. Having deposited by bag and resisted the temptation to visit the book shop I entered the new ground floor gallery space behind the new restaurant to be confronted with the Nelson Rockefeller 1955 commissioned tapestry of Picasso’s Guernica which for the past couple of decades has hung outside the Security Council meeting room at the United Nations building in New York. The tapestry is set against a blue backcloth the significance of which was to emerge in the installation notes.
Around 1975 on my visit to the South of France I experience a major work of Picasso on War and Peace in a church at Vallauris where Picasso lived from 1948 to 1955. I cannot remember when I acquired the large block reproduction of Guernica which now hangs in the room in which spend most of my days working and experiencing.
The reason for the presence of the tapestry at the Whitechapel is the work of London based Polish creative visual artist Goska Macuga who is known for the presentation as installations historical objects and documents. In 2003 a blue curtain was hung over the tapestry as Colin Powell delivered his speech on weapons of mass destruction in Iraq. Goska has placed his Guernica against a backcloth of Blue in from of which there is a large table similar to that used by the Security Council but with inlay of documents which reflect keys moments in the history of the Whitechapel where there have been meetings and discussions and where groups are invited to do likewise during the year long presentation of the installation. What was new to me is that the original Guernica was displayed at the Whitechapel in 1939 after it had been on display at the 1937 Paris Exhibition. Moreover Clem Atlee had addressed a meeting before the picture a large reprint of the photograph of the event was the centrepiece of a newspaper produced for the 2009 event and which I fear I mistakenly put out with the now free London Evening Standard. I will obtain another if still available when I revisit just before Christmas.
Before entering the ground floor space which is devoted Ms Calle’s Take Care of Yourself I stayed alone in the Zilkha Auditorium where Inci Eviner is showing perpetually her film Harem 2009 based on a 19th century engraving which looks more like the inside of a lunatic asylum than the sexual playthings of a Sultan of Constantinople. The film has a hypnotic quality despite the contrived grainy effect.
It was then I was ready to meet Sophie Calle once more although the front stage was occupied by a mural of video screens where a score of the 107 women she contacted from an opera singer to rock artist responded on film interpreting an email received from a partner breaking up with her. The performance are also on a continuous loop but switch between them for the sound and which is the English speaking Premier of the work which she took to the Venice Biennale in 2007, the same year that Tracey Emin occupied the British Pavilion. Around the walls are large format responses to this most extraordinary of emails, including from the chief of police and psychiatrist I ordered an edition of the book on the work while travelling back to South Shields today.
I found copies of all the official guides to the British leading participants to the Biennale on one of the top gallery floors together with photos and information including a group photograph at a lunch which represent a history of British art with Henry Moore and JMW Turner, Ben Nicholson and John Tunnard at the opening in 1948, Graham Sutherland 1952 Francis Bacon and Lucien Freud and Reg Butler in 54, John Bratby 56 Victor Passmore in 60 Bridget Riley 68 David Hockney 78 Anthony Gormley and Anish Kapoor. Damien Hirst and Julian Opie 93, and the single contributors over the past decade with Mark Wallinger, Chris Orfili, Gilbert and George before Tracey and the video installation Steve McQueen this year.
I was then ready for Calle’s Talking to Strangers, inviting people to use her bed and then photograph them as well as asking resident’s of the Bronx to take her to their favourite place.
Seven times before my life was fundamentally affected and reshaped by unplanned events or unexpected experience and the combination events last Friday has created the eight with the work of Sophie Calle pivotal. As with that day in the Spring of 2003 when I was exhilarated by the experience of the Saatchi 100 and followed this with another first to the Tate Modern, Friday got better and better with my visit to the film on the life of Seraphine of Senlis. For this bitterly cold night on the return home I am more than content to go to bed talking to Sophie Calle.
I do not mean know in the biblical sense, although my accumulated experience suggests that we can know more of an individual through their work than by living with them. What we know is our interaction with the time period of their work or our period of direct contact and even where another discloses their thoughts, internal images and sensations, it is always an edited experience and with only limited disclosure of their subconscious for those able to interpret with some accuracy.
In 2006 I had not been to contemporary theatre, or out to much else between 2003 and 2006, fully engaged as I was in the creation of the installation then called 101 Public and Private Art and now 100.75 Public and Private Art. until the redesigned Newcastle Playhouse was open again. On the 27th of September 2006 I visited to new second space at the theatre to see Exquisite Pain, a performance art work lasting two and a half hours without interruption and created by someone called Sophie Calle. I liked the old second space at the Playhouse which I previously visited usually to see actors of the Royal Shakespeare company because of the intimacy between the players and the audience less than 100 souls sitting within the performance space. Now the space was on the ground floor and could become an additional back space to the main space and auditorium, to as in the instance of this first use as a separate space a second auditorium with perhaps 200 uncomfortable seats in a traditional single slope to the theatre. I had not made an immediate note but written about the experience for my AOL Blog a month later 26.10.2006 and which I then published in a revised form here on as 31 in March 2007 and then on Google this year as 1031.
I had used Jokerman script for the original piece.“26.10.2006 .The use of Jokerman script for Exquisite Pain (27.09.2006 Newcastle Playhouse) is at one level appropriate. It is not a play but a performance art work where the setting of a seated audience for two and a half hours is inappropriate, one needed to be able to walk about” and in my instance join in.
“12.03.2007 if you have not been to the theatre to experience acting for sometime then Exquisite Pain is not the work to go and see. It is not a play but performance art using exceptionally talented actors. (I can say this because I also watched them perform a total theatre experience of the history of The World in Pictures, two days later).
You sit with increasing discomfort for two and a half hours without interruption. The discomfort is physical and emotional and is an appropriate way to experience the work. I would have preferred to have walked about a bit but keeping within listening distance.
This autobiographical work, previously performed by the artist and available in book form, is by Sophie Calle, born in Paris in 1953. In 1985 her lover and older man failed to meet her as arranged in New Delhi midway between where she had been for several months and experience, rather than traumatised and was able to work through the disappointment, humiliation, and victim guilt, because she was a creative using photo, memorabilia and words, but kept a record of how her perception of the event changed through linear time.”
“26.10.2006 The performance consists of one person telling the story of dealing with a traumatic experience and how the view of that experience changes over time, one blames oneself, where she had previously lived, She was devastated by the one blames the other person one gets angry at being affected so much yet because one wanted and hopes for resolution reconciliation one clings the hope for a different outcome because that it is a possibility but the reality is that when you compare such an experience with the experience of others you realise that however painful, it is insignificant to the realities of the succession of tragedies and horrors of others which are told in a dead pan and sometimes humorous way.”
13.03.2007 Sophie Calle could have just created a performance work in which she recounted the same experience over the subsequent days, weeks and months, reporting and observing changes in detail, consideration, feelings, attitude and judgement. This could have been a complete work. She did not.
On her return to Paris, she asked a group of friends to answer the question, "When did you most suffer?" Their stories of pain, each of them accompanied by a photograph, interplay with Calle's own story and daily reflections—"It is now seventy-five days since the man I love left me"—creating a testament to the heartache of romantic rejection. 130 illustrations, 71 in colour available through Amazon.”
30.11.2009. I write this on the train to Newcastle. Sophie appears to see herself first as a voyeur albeit a self controlled one me thinks, and an exhibitionist second. Both words tend to be regarded in only a pejorative way by the popular media and have conditioned the general public accordingly. Both require courage whether undertaken in a public or private way.
“27.09.2006 the university car park was free tonight, I usually pay £2. I enjoyed the salad and timed everything much better. It is the right thing to do to take the car although it would be sensible to work out the motorway way route back. It is ridiculous that you cannot enter the theatre at this level with the choice if steep steps or walking around the theatre up the slope.”
“28.02.2007. The revised travel arrangements to the Playhouse and other evening outings to Newcastle are now working well. I still visit my mother and then take the car to the Hewarth short stay car park adjacent to the taxi rank and metro station. I eat the picnic meal in the car and then continue the journey by metro train. On the way there is now a sign which suggests it might be possible to enter the theatre directly from the car park. It is.”
30.11.2009 The University has now built its main public reception building on the car park and there is now a grand staircase entrance by the side of the building which leads to the space with the splendid university student union building on one side and the Playhouse Theatre on the other. I assume one can no longer take the car close the theatre anymore but have not taken time to explore this further or been to the theatre for a year.
“27.09.2006 this is my first experience of the new second theatre space. For on the Town when both spaces were combined the audience sat on tiered seating the width of the second space facing into the main auditorium and banked seating. Previously we sat on similar seating in a semi circle around the stage which I like to call eyeball theatre. Now there is conventional tiered seating with not much space to move legs unless you sit on an aisle or the front row where you will feel part of the performance. I chickened out and sat mid row, fortunately one vacant seat so there was some manoeuvrability. My ticket was free as part of a five main theatre subscription packaged. Many in the audience were students. Unsurprisingly there was a plea for funds at the end and I decide to give £10 which is slightly more than the average of £7 requested. Free programme included.”
“13.03.2007. The incorporation of the stories of the experiences of Calle's friends was inspirational. Each story communicates an aspect of physical and emotional pain but the accumulation of experience helps to put her experience into perspective
At the end of the World in Pictures chorus makes the valid point that however much the average member of the audience enjoys, appreciates, is moved or challenged by the event, it will become submerged under layers of new experiences of varying intensity and significance.”
26.10.2006 There was also an after performance session with the two actors, and the company director chaired by a local cultural figure. I had only 'discovered' this extraordinary company through the internet during the afternoon beforehand and had become so interested that I abandoned my work programme. The amazing aspect is that the core actors had been together throughout their working lives having come together at university. At the discussion I made a clanger by concertinaing this time, having misinterpreted an aspect of the internet information. I also wanted to know if the order in which the stories of the friends are recounted is changed according performance. It is not although if the work was mine I would have included the variations”- to see if by doing so my view of what had happened to me, changed 30.11.2009.
“13.03.2007. Calle's work and the performance by the Forced Entertainment company is at the core of my work and confirms that what I am doing is only original in its particular form, at least I hope that this is the position, but the concepts are already aspects of the work of professional contemporary creative of international reputation. However I do not regret only entering back through the portal of my occupational dimension of four decades into my first period of full time creative endeavour. Now I have a lot to say even if I continued to be limited in the means of expression.”
29.11.2009. I have met Sophie Calle again two days ago. The experience was unplanned because at the last moment I had a free day in London and had read Time Out, looking first at the cinema listing and discovering that a film about the Seraphine of Senlis was to open at midday, decided to attend the first performance the Curzon Renoir in Brunswick Square. I then looked at the major space exhibitions which are listed alphabetically but on the third page under Critic‘s choice there was her name Sophie Calle, announcing that she was revealing more of herself at the Whitechapel Gallery from 11am. This became my priority visit until an evening engagement and I quickly worked out how to get to Aldegate East which is behind the City area where I had worked 50 years ago unsuccessfully trying to sell office machines for an Italian company and on a road to Stratford from Tower Bridge which I used several times a year over a period of several years.
I should have arrived for 11 but made a mess of the travel as a consequence of devoting insufficient time to learning the route from East Croydon Station. As will be evident to anyone reading any of my writing I have a learning disability which prevents the immediate recollection of grammar and vocabulary and to ensure that I remember anything and although I spell check, reread and revise any writing, usually once, I continue to find errors, sometimes rendering a sentence incomprehensible. I sometimes leave my work uncorrected.
30.11 2009. For some reason about which I am no longer sure I took the train to London Bridge rather than direct to St Pancras and this resulted in having to climb the stairs at London bridge over platforms and then down to the platform, where fortunately the train from East Croydon to Bedford arrived a few minutes later. I had not lost time but had the additional effort. However what I should have done is get off at Farringdon and take the Hammersmith and City Line to Aldegate East from there. Instead I continued to St Pancras and then had to walk the full length the station to the booking hall at the front and to the Hammersmith and City line which is one the same platform at the circle and district lines. As I was to discover on my way to King Cross station later that evening there is now a new booking hall between the far end of St Pancras and the present side entrance into Kings Cross and which was opened to the public for the first time on Sunday. I do not know if this will also cut the distance to the Hammersmith and city line.
In any event having arrived at the St Pancras platform trains came and departed along the other routes for 15 to 20 minutes before one of two trains in succession going towards Aldegate East were announced. Thus I had extended the journey time by half an hour and it was after 11 before I arrived at the art space and was pleasantly surprised to find that the station entrance and exist is part of the gallery building and that for several years I had driven along the road on my way from Wallington via Tower Bridge to Stratford. I also quickly realised it was in the area where the British Olivetti City office had been located and where each day accompanied with other members of the selling team we had made our way to a bacon roll and coffee breakfast hideaway from the supervisor.
I m just have the address somewhere which I hope to find one day, although the breakfast cafe may be long gone as much of this part of London.
Petticoat Lane is as always but with little evidence of customers on the Friday. From Wikipedia I gather that on Sunday morning there can be as many a thousand stalls covering the wider area and while tourists visit it remains primarily a place to go for clothing. I was struck by two neighbouring shops which specialised in formal suits and dresses for young people, including waistcoats. I assume this is for formal occasions as I cannot recall seeing a child in such attire. There were also two stalls/shops selling luggage at very low prices. Nearby is Brick Lane and its market of fruit and vegetable and which is the home of the Bangladeshi community in this part of London an area previously occupied by Irish and then Jewish immigrants. On my explore I discovered Toynbee Hall the original University Settlement Hall in which those interested in social work could provide services to the underclass in the local community and which continues to this day in an area now overshadowed by the Gherkin and other City Towers and the encroachment of corporations and hotel chains. Lenin visited Toynbee Hall and Clem Atlee worked there as did Lord Profumo who devoted his life there after the Keeler Scandal.
Later after the visit to the Whitechapel Gallery I found an area of street seating close to the East London Mosque which can accommodate 4500 people, next to which is also the London Muslim Centre, which has facilities for several thousand, for the purpose of eating the prepared salad brought with the previous day. Nearby was the London Bell Centre workshops and a little way further along I passed a small group of beautifully attire young Muslim women standing talking and giggly oblivious that they had stopped across the road from the Nag’s Head Gentleman’s club out of wish an Asian gentleman was exiting. I wonder if the various Royals and national politicians who have visited the Mosque and centre noted the incongruity of local authority planning approval being given for such a facility in this neighbourhood.
I knew of the Whitechapel gallery but had no knowledge of the nature of its space which is not surprising as after closure it reopened only earlier this year having doubled in size following expenditure of £13.5million. Having deposited by bag and resisted the temptation to visit the book shop I entered the new ground floor gallery space behind the new restaurant to be confronted with the Nelson Rockefeller 1955 commissioned tapestry of Picasso’s Guernica which for the past couple of decades has hung outside the Security Council meeting room at the United Nations building in New York. The tapestry is set against a blue backcloth the significance of which was to emerge in the installation notes.
Around 1975 on my visit to the South of France I experience a major work of Picasso on War and Peace in a church at Vallauris where Picasso lived from 1948 to 1955. I cannot remember when I acquired the large block reproduction of Guernica which now hangs in the room in which spend most of my days working and experiencing.
The reason for the presence of the tapestry at the Whitechapel is the work of London based Polish creative visual artist Goska Macuga who is known for the presentation as installations historical objects and documents. In 2003 a blue curtain was hung over the tapestry as Colin Powell delivered his speech on weapons of mass destruction in Iraq. Goska has placed his Guernica against a backcloth of Blue in from of which there is a large table similar to that used by the Security Council but with inlay of documents which reflect keys moments in the history of the Whitechapel where there have been meetings and discussions and where groups are invited to do likewise during the year long presentation of the installation. What was new to me is that the original Guernica was displayed at the Whitechapel in 1939 after it had been on display at the 1937 Paris Exhibition. Moreover Clem Atlee had addressed a meeting before the picture a large reprint of the photograph of the event was the centrepiece of a newspaper produced for the 2009 event and which I fear I mistakenly put out with the now free London Evening Standard. I will obtain another if still available when I revisit just before Christmas.
Before entering the ground floor space which is devoted Ms Calle’s Take Care of Yourself I stayed alone in the Zilkha Auditorium where Inci Eviner is showing perpetually her film Harem 2009 based on a 19th century engraving which looks more like the inside of a lunatic asylum than the sexual playthings of a Sultan of Constantinople. The film has a hypnotic quality despite the contrived grainy effect.
It was then I was ready to meet Sophie Calle once more although the front stage was occupied by a mural of video screens where a score of the 107 women she contacted from an opera singer to rock artist responded on film interpreting an email received from a partner breaking up with her. The performance are also on a continuous loop but switch between them for the sound and which is the English speaking Premier of the work which she took to the Venice Biennale in 2007, the same year that Tracey Emin occupied the British Pavilion. Around the walls are large format responses to this most extraordinary of emails, including from the chief of police and psychiatrist I ordered an edition of the book on the work while travelling back to South Shields today.
I found copies of all the official guides to the British leading participants to the Biennale on one of the top gallery floors together with photos and information including a group photograph at a lunch which represent a history of British art with Henry Moore and JMW Turner, Ben Nicholson and John Tunnard at the opening in 1948, Graham Sutherland 1952 Francis Bacon and Lucien Freud and Reg Butler in 54, John Bratby 56 Victor Passmore in 60 Bridget Riley 68 David Hockney 78 Anthony Gormley and Anish Kapoor. Damien Hirst and Julian Opie 93, and the single contributors over the past decade with Mark Wallinger, Chris Orfili, Gilbert and George before Tracey and the video installation Steve McQueen this year.
I was then ready for Calle’s Talking to Strangers, inviting people to use her bed and then photograph them as well as asking resident’s of the Bronx to take her to their favourite place.
Seven times before my life was fundamentally affected and reshaped by unplanned events or unexpected experience and the combination events last Friday has created the eight with the work of Sophie Calle pivotal. As with that day in the Spring of 2003 when I was exhilarated by the experience of the Saatchi 100 and followed this with another first to the Tate Modern, Friday got better and better with my visit to the film on the life of Seraphine of Senlis. For this bitterly cold night on the return home I am more than content to go to bed talking to Sophie Calle.
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