Thursday 4 August 2011

TRAVEL: Scandinavian Islands

Published: PLANET CONFIDENTIAL, 4th August 2011


"Aland is tranquility defined: Thalia Allington-Wood gets giddy over swimming with salmon"

In 1854, Robert Edgar Hughes, English eccentric and man of the cloth, decided on a holiday to Aland, the main island of the archipelago between Sweden and Finland, and the central destination of my trip.

It was an odd choice. In choosing Aland in the year of 1854, Hughes had chosen the scene of a war. For in 1854, the Battle of Bomarsund, part of the action in the far-off Crimean War, shook the woods of this small outcrop of land.

Standing with the red Notvik tower and its remaining canons to my left, where shells were fired and rifles shot between the French, British and Russian, it is difficult to imagine the smoke and shouts, the billowing fire and the ‘hurly burly of shells passing’, which Hughes’ diaries describe.

Instead, the sky is clear and quiet the sun shines brightly, flowers are in bloom, a cool breeze blows from the sea, its water glistening and calm.

Hughes would have been disappointed. I, however, am in raptures. Aland is beautiful. Breathtaking even.

Despite his barmy pastime of packing a knapsack ‘freighted with wine, biscuits and condiments’ and heading in search a ‘splendid scene of havoc’, Hughes got one thing right at least. Aland, lush and wild, is the perfect location for a break filled with picnics.

I’m going to confess straight away: I fell in love with the place.

From Stockholm we took the over-night ferry: a giant boat that consumed 30 tons of fuel on an average journey and was capable of 32,000 horse power, yet was controlled by the smallest joy stick known to man. While a pleasant mode of travel, with sunset views over the archipelago, for those of you who would rather avoid an evening of mirror ball bedazzled dancing to cruise ship crooners, the two-hour ferry is a good alternative.

Stepping from the deck on to Aland soil is like shedding weights off your shoulders. Think of all you associate with the word metropolis: traffic, crowds, concrete, rush hour. Aland and the surrounding islands are the antithesis of all these.

Rush hour here consists of seeing another car on the road. In Mariehamn, Aland’s only town, and home to 11,000 of the total 28,000 inhabitants who live across all the islands, rush hour maybe consists of ten fellow road users. Local buses and ferries from island to island are frequent and free. Time passes at what ever pace you wish. Stress is a concept one can’t imagine existing.

While Mariehamn is quaint, with a museum and art gallery to keep one entertained, the real joy of being here is the outdoors: be it on land or water.

As such, for the first two nights, we staying in a small cottage set into a wood of evergreens. The setup was functional and nothing luxurious. But waking up, wooden rafters above your head, to a stroll through the trees, pines crunching beneath your toes as the high morning sun casts long shadows, down to a deserted cove for a swim, just you and the salmon, is an altogether different kind of luxury and one my city worn self soaked up like ambrosia.

The real way to explore land has to be by bicycle, easily rentable for around 10 Euros a day. This is place perfect for leisurely peddling. Winding paths, with only minor hills to climb, take you past forests, meadows filled with long grass, red wooden windmills, and glistening waters frequented by swans. Elk and deer roam. Each day we saw proud antlers raise their heads from the fields and bound through the grass. Poets beware. You will find it difficult not become instantly whimsical after a few hours exploring.

For water expeditions, my favorite boat trip had to be out to Kobba Klintar, a pilot station for guiding in coming boats through the rock filled water, now out of use. It is accessible either by private boat taxi for about 20 Euros return or on a kayak excursion. From the red rocks of this jut of land, covered in yellow and blue lichen, boats enter the horizon. First merely a hazy spot before their masts loom into view and protrude against the blue skyline. There is a museum, a small café, and the water is clear, practically saltless, and wonderful for a swim.

There is much more I could wax lyrical about: Kastelholm Castle, the beautiful saffron infused Aland pancakes to be eaten at Pettas bakery, saunas and ice cold sea dips before delicious dinners at Havsvidden (the place to stay if you’re looking for top end, jaw dropping accommodation), and, of course, I can’t forget to mention the beer. Stallhagen, Aland’s very own, with 13 different products ranging from Hunungsol, a delicious honey beer to Dunkles, a drink that gives Guinness a run for its money. The brewery offers tours and tastings in, again, beautiful surroundings.

My last morning came round all too quickly, spent at the wonderful Hotel Nestor (highly recommended) on the island of Korppoo. I dragged out my final morning swim for as long as I possibly could, the water gleaming, a white rowing boat gently rocking from the small wooden jetty, the birds singing…

People here look ten years younger than they are for a reason. These Scandinavian islands are food for the soul and I, for one, advise any to put them on their summer menu.

LINK: http://www.manchesterconfidential.co.uk/Travel/Aland-is-tranquility-defined

Tuesday 2 August 2011

REVIEW: Takashi Murakami at Gagosian Gallery

Published: LONDON CONFIDENTIAL, 2nd August 2011
 "Takashi Murakami Review: Thalia Allington-Wood visits the Gagosian Gallery… it speaks for itself"

STANDING in the anesthetically pristine space of Gagosian’s Britannia Street gallery, two achingly large breasts bulge and loom above my head.

Nipples covered in smooth white material, both fleshy sandbags strapped together with a garishly purple belt. So voluminous are they, the lithe body supporting them threatens to topple dangerously under their weight.

At five foot ten, I have to admit, looking at such objects from below is a novel experience. Rarely do I feel dwarfed by a pair of female mammary glands. I certainly have never felt Lilliputian by a pair resembling computer animation come to life. Large enough they could flatten me into a pancake.

But this is the artwork of Takashi Murakami, popular Japanese artist extraordinaire. Whose smiling flowers adorn limited edition handbags; who covered a condom packet in precious stones in collaboration with Pharrell Williams in 2009; who placed an anime style sculpture of a squat naked king in the coronation room at Versailles. An act that, of course, met with French public outcry, but was somewhat genius in my opinion. A larger culture clash would be difficult to find.

I don’t know why I expected anything less.

‘3m Girl’ (2011), made from fiberglass reinforced plastic and steel, is the artwork in question. A towering, hideous display of cartoon fetishism: red high heels, stockings, tightened straps, dog collar, pointed gem riddled nails. All are present; as large spangled eyes and a miniature nose bend down to greet you.

No one has ever accused Murakami of being subtle. This is a work, like all the others in the room, which shouts its subject matter loud and clear.

Sex and fantasy anyone?  We’ve got it in spades.

In the past I’ve always found Murakami’s work incredibly entertaining. He has a sense of humour, without doubt. Anyone who titles a seriously polished and incredibly large sculpture of a gold penis, ‘Mr. Big Mushroom’, and a matching gargantuan silver vagina, ‘Mrs. Clam’ (both 2011). Each of their fronts are adorned with smiling faces resembling Pac-Man, which are guaranteed to bring on a smile.

But beyond this light entertainment, (the laughs are often easy ones), his work seems somewhat hollow. It’s the same feeling with the work of artist Jeff Koons, to which Murakami is constantly compared. Reproducing everyday objects on a grand scale or many times over is all very well. My magpie instinct can happily find enjoyment in Koon’s giant metallic balloons for a time. But then what? Usually one walks away profoundly unaffected.

Takashi Murakami’s work at the Gagosian show failed to alter my opinion. As spectator I felt respect, occasional delight, but also dissatisfaction.

Respect because with Murakami’s work comes technical brilliance. Standing in front of ‘Nurse Ko2’ (2011), a life-size three-dimensional sculpture of a scantily clad nurse, cross-shaped, blood-filled syringe in hand, is to experience the uncanny valley in reverse. So much like a computer animation does she appear, your eyes can trick you into momentarily believing that she is in fact two-dimensional: a visual slippage both unnerving and impressive.

Delight in ridiculous moments: staring up a giant matron’s frilly skirt, her knickers wedged between two stupidly spherical buttocks, for example, while in the serious environment of a contemporary gallery. Murakami’s work is a colourful, fiberglass assault on the eyes: garish, playful, frequently bordering on ludicrous.

Disappointment due to lack of profundity: these renditions of cartoon sexual fantasies, with tiny, slender proportions and large, violet-coloured, doe eyes, titillate, but to little effect and say little in return. If the show makes any comment at all, it is on societies long held desire for unrealistic, pornographic imagery.

By adopting, in two paintings entitled ‘Shunga: Gibbons’ and ‘Shunga: Bow Wow’ (both 2010), the erupting, vein bursting, members found in Shunga, a style of Japanese erotic art that reached its peak of popularity in the Edo period (commonly dated between 1603 and 1868), Murakami reminds that sexual art of the past has flung the stone as far from reality as the similarly phantasmal and illusory images of the contemporary Japanese graphics his work most frequently employs.

But this is hardly a groundbreaking exposition on sexual desires or the sex industry.

In moments of cynicism, especially remembering that Gagosian is a power force of a commercial gallery, this show can seem to merely audaciously play into the hands of Murakami’s large army of collectors. Murakami’s work sells extremely well; his supposedly erotic work, even better. ‘My Lonesome Cowboy’, for example, sold at auction in 2008 for a whopping fifteen million.

Works that prompt deep contemplation you will not find at Gagosian; a laugh you may. If Murakami wishes to provoke, he fails to do so. The pornographic nature of the work is never shocking. His work is art of ambivalence.

Takashi Murakami
June 27th – August 5th, 2011

Gagosian Gallery
6 – 24 Britannia Street
 WC1X 9JD
 02078419960
 Tues – Sat: 10am – 6pm

Link: http://www.londonconfidential.co.uk/Arts-and-Entertainment/Art/Takashi-Murakami-Review