Week 5
During this week we went to see a Cabaret Show at the Barbican called Into the Night: Caberet and Clubs in Modern Art. this is my experience of the viewing
As i enter the exhibition i am excited as i always enjoy going to the barbican due to its forward thinking exhibitions and avant guard nature, both of which im passionate about. Cabarate and bars have a large focus on atmosphere something which is very difficult to put across using paintiangs and photographs this then brought across the point that the galleries have very little furniture and where barely furnished thus bringing attention solely to the paintings, thus to assist in their attempt to create atmosphere in the gallery rooms. the first exhibition i entered was based in Paris, Le Chat Noir . This era seemed to focus on what is called Shadow theatre, with the paitings focusing on dark colourations of stages, which where of performances often done solely through shadows.
further down the gallery, there where large recreations of the puppets, twist and turn above peoples’s heads and project large shadows upon the walls, i found that the curator was brilliant in this part as like the noir shadow theatre was using shadows, the large puppets where creating shadows over the people in the exhbition thus almost creating shadow theatre itself.
Still in Paris I turn my attention to dancer Loïe Fuller became known for her mesmeric dances, using her costume, poles and lighting to creative effect. Toulouse-Lautrec, clearly captivated by her, produced a series of hand-coloured lithographs. Which captured her dynamic and emotive dances brilliantly.
At the show, an early film features an imitator of Fuller. This dancer performs a flower dance. The effect produced is rather like peering through a child’s magic kaleidoscope.
next i went to Vienna 1907 at the Fledermaus cabaret which looked like there was a huge focus on unique tilted design. there was what appeared to be a recreation of the multi-coloured tiled bar, which was could be seen on the lower level of the exhibition. Gleaming tiles displayed beautiful motifs however in my opinion this was the weakest part of the exhibition due to the lack of any actors or dancers thus leaving the space bare.
Next was Berlin Weimar Nightlife of the 1920s and 30s. there was a painting depicting women dressed in men’s attire and sporting bobs which seemed to be a large attraction to many people which was interesting as it was a strong depiction of woman indpendence and strength which would make sense as in Germany, women had got the right to vote in 1919, and were now, not only taking their liberated selves out, but foregoing masculine company as well.
Mexico of the 1920s and At the Café de Nadie in Mexico City radical artists and writers met to discuss new political and social ideas following the Mexican revolution. Slogans such as ‘Chopin to the Electric Chair’ which i after some research was a references to pianists who would play chopin in public thus seemingly driving said pianists away. In 1924 the radical group held its first exhibition which embraced poetry, performance, music, woodcuts and paintings. Masks were also used, showing the movement’s attachment to ancient culture.
A celebration of indigenous culture also came up in based onthe Nigerian Mbari Clubs. They came into being in the early 1960s, after Nigeria’s independence. ‘Mbari’ was an Igbo word for ‘creation’ and the first club was open-air in the university town of Ibadan. Here writers, musicians and actors congregated to read their poetry, exhibit their art and perform music and dance. Another club opened in Osogbo and became home to the Yoruba opera company. The clubs were both influenced by Western art but were rooted in their own tradition. I loved the art on display particularly an oil portrait by Ibrahim El-Salahi but also a black and white film of a performance of drumming and dance where the cheekiness of the woman dancer wanting to outdo her male dance partner is delightful to watch. The joy and exuberance of all taking part in the musical event warms the soul.
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