Sweden’s José González and Iceland’s Ólöf Arnalds are both accomplished guitarists. With González currently supporting his new record Vestiges & Claws (Mute) and Arnalds supporting her fourth album Palme (One Little Indian), their decision to tour together in Europe and in the US this past March and April allowed audiences to listen to these excellent musicians create uniquely magical sonics on the same night.
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If it’s mid-May, in the movie world at least, then it must be Cannes: the exhausting, exhilarating 12 days during which assorted actors, directors, producers, distributors, deal–makers and journos (over 4,000 of the latter) descend upon the beautiful Cote d’Azur town for another round of world premieres, press conferences, parties and heavy duty schmoozing. This Olympics of Film Festivals, once memorably described by Roger Ebert as “a glorious ceremony of avarice, lust, ego, and occasional inspiration and genius,” is now 68 years old, but its prestige, allure and all round cachet seem undiminished.
“You see, in my trade, this is called—what you did—you cracked out of turn. Huh? You see? You crumbed the play.”
—Character Mike, House of Games, 1987, David Mamet
We crumble the play all the time. This is because the more statements we make about ourselves, the more we never say. Who we present to the world is a balance of subconscious and conscious. The former holds our basic appetites and determines many of our behaviors. It is where the impolite stuff that drives us—lusts, appetites, fears and vanities fester.
Unfortunately, it is hard to find a webpage that lists all the performances coming up at the Metropolitan Museum of Art in New York so I have missed many of them. Seeing live music at a museum is an exciting idea but seeing a performance within The Met’s Temple of Dendur is even more exciting. The Met’s April schedule listed jazz legend Charles Lloyd in the Temple of Dendur and the ‘Jazz & Colors’ series (held throughout various galleries) for example. But even in the inspiring and unique setting, you can’t presume an artist will be doing something to take advantage of the atmosphere. Interpol, Glen Hansard and others have performed there but simply drew from their regular repertoire. However, in March, Icelandic composer Jóhann Jóhannsson, along with the choral ensemble Roomful of Teeth and the instrumental American Contemporary Music Ensemble (ACME), created something unique within the Temple.
Australian video artist Angelica Mesiti examined the conflict between private space and public performance in Citizens Band, an installation comprised of four projected videos at the Williams College Museum of Art, Williamstown, Massachusettes, 24 October 2014—4 January 2015. Four projected videos comprised the exhibition; each showed a musician performing in a public or semi-public space. All of the performers were displaced. They performed works from their homeland in their adopted countries; Cameroon, Algeria, Mongolia and Sudan. They migrated to large cities like Paris, Sydney and Brisbane.