Posts Tagged ‘Marcel Duchamps’

Russian Rocket Engine Street Art in Cheltenham

January 18, 2020

One of the shops in Cheltenham has a very unusual piece of street art decorating its door. It’s of the rocket motor designed to power the Russian N1 spaceship to the Moon. The N1 was the Russian counterpart of the massive American Saturn V, and was similarly intended for a manned mission. Unlike the Americans, the Russian rocket would have a small crew of two, only one of whom would make the descent to the lunar surface in a module very much like the American. Unfortunately the project was a complete failure. Korolyov, the Soviet rocket designer, had died by the time it was being designed, and the head of the design bureau was his second-in-command, Mishin. Mishin was an excellent lieutenant, but this project was far beyond him. The N1 space vehicles kept exploding on the launch pad. These were powerful spacecraft, and the explosions destroyed everything within a radius of five miles. After three such explosions, one of which, I think, killed Mishin himself, the project was cancelled. The Russians never did send a man to the Moon, and instead had to satisfy themselves with the Lunakhod lunar rover.

I’d been meaning to take a photograph of the painting for sometime and finally got around to it yesterday. The full painting isn’t visible during the day, as much of it is on the cover that gets put over the door at night. This is the part of the painting shown in the top photograph. During the day only the bottom part of the engine, painted on the door itself, is visible.

The shop-owner himself was really helpful. He saw me crouching trying to photograph the bottom part of the engine, and asked if I knew what it was. When I told him it was a rocket motor, he proudly replied that it was TsK-33 for the N-1, and asked if I wanted to photograph the whole thing. I did, so he got down the door cover. Talking to him about the painting both then, and later on with a friend, who also has an interest in space, he told us a bit more about the rocket engine and his painting of it. Although the N-1 was scrapped, the Russians still retained the rocket engines. Someone from the American Pratt and Whitney rocket engine manufacturers met one of the engineers, designers or managers on the N-1 motors, who showed him 33 of the engines, which had been mothballed after the project’s cancellation. The Pratt and Whitney guy was impressed, as it turns out that these Russian motors are still the most efficient rocket engines yet created. He made a deal with the Russians to take them back to America, where they are now used on the Atlas rockets launching American military satellites. Or that’s the story.

My friend asked if the shopkeeper had painted it himself. He hadn’t. It had been done by a street artist. The shopkeeper had seen him coming along painting, and asked him if he would do an unusual request. And so the artist came to paint the Russian rocket engine.

There’s much great street art in Cheltenham, though as it’s an ephemeral genre you have to catch it while it’s there. Just before Christmas there was a great mural of Jeremy Corbyn and the Labour logo in one of the town’s underpasses. I wanted to photograph that too. But when I tried yesterday, it had gone, replaced with another mural simply wishing everyone a happy Christmas.

But I hope the rocket engine, as it was done specifically for the shop, will be up for some time to come.

It also seems to me to bear out the impression I’ve had for a long time, that the real innovative art is being done outside of the official artistic establishment. The painting would have delighted the Futurists, who were into the aesthetics of the new machine age. And also the French avant-garde artist, Marcel Duchamps. Duchamps anticipated the Futurists concern with the depiction of movement in his painting, ‘Nude Descending a Staircase’. He also painted a picture of ‘The Star Dancer’, which isn’t of a human figure, but a ship’s engine, which also anticipates the Futurists’ machine aesthetic. Unfortunately, what he is best known for is nailing that urinal to a canvas and calling it ‘The Advance of the Broken Arm’ as a protest against the artistic establishment. This went on to inspire Dada, and other anti-art movements. It’s now in Tate Modern, although it no longer has the same urinal. As a work of art, I really don’t rate it at all. Neither do most people. But for some reason, the artistic establishment love it and still seem to think it’s a great joke.

The real artistic innovations and explorations are being done outside the academy, by artists exploring the new world opened up by science and the literature of Science Fiction. And it’s to that world that this mural belongs. 

 

 

 

 

The Painter of Cyberspace: The Art of Jurgen Ziewe

January 20, 2018

Earlier this week there was a piece in the press announcing that the Turner Prize Committee had decided to go public early about which artworks and artist they were considering. I have strong feeling, like many people, about the Turner Prize. Many of the works seem simply designed to shock, with nothing more substantial underneath. Those that aren’t, are simply banal. It’s highbrow kitsch, which says nothing while claiming that it actually does. And I think modern fine art has reached a dead end. it’s anti-art, which constantly raves about Duchamps’ urinal nailed to a piece of canvas. Duchamps did it to make the point that whatever the artist claimed to be art, was art. It’s over a century old, and the joke’s well past it’s sell-by date. It was always an adolescent, childish prank anyway. To some of these art experts, it’s a hallowed artistic statement that must not be blasphemed in any way. You remember those Chinese guys, who were arrested when they jumped up and down on Tracey Emin’s ‘My Bed’? The same two were planning to urinate in Duchamps’ urinal. Which I feel is in keeping with the piece itself, but the mere thought horrified the keepers of official art.

The real artistic boundaries are being pushed, in my opinion, not by the fine artists, or at least, not by those fine artists currently pushed by the very small clique that defines what ‘official’ art is, like Nicholas Serota. Rather, they’re being pushed by commercial artists and film makers, often inspired by the worlds of Fantasy and SF, using computer graphics. One of the foremost of these, in my opinion, is the German artist Jurgen Ziewe. Ziewe lives over here, and has an English wife. And we are fortunate to have such a talented artist. I do wonder what will happen to other talented EU migrants like him after Brexit, who can’t stay in this country because they aren’t married. We’re going to lose a lot of very talented people.

Ziewe uses computer graphics, including Virtual models of humans and objects, and fractals, to create prismatic, Virtual, interior worlds full of robots, strange creatures, synthetic humans, fairies, wizards, witches, priestesses and temples. He started out making cards showing dolphins under cosmic skies. He’s a very spiritual guy, in a New Age-y sense, and his work is inspired by concepts from Theosophy and C.G. Jung. Here’s some of the picture from Nigel Suckling’s book about his art, New Territories: The Computer Visions of Jurgen Ziewe (Paper Tiger, 1997).

The Fairy Queen

Picnic In Cyberspace

Journey of a Virtual Traveller

Apart from Ziewe, other artists working in film and television have also been using the concepts of computer graphics. One of the features of the BBC TV version of the Hitch-Hiker’s Guide to the Galaxy that most impressed me in the late ’70s or early 1980s were the, ahem, computer graphics for the pieces of information provided by the Book. In fact, they were hand drawn, because the computers at the time simply weren’t up to the task of creating pictures that detailed. But the art produced as ‘computer graphics’, was superb, and those, who watched the show were deeply impressed. As an example, here’s a piece from YouTube of the Book describing Vogon poetry.

Further examples can be seen in pop videos. Like this one from the American electro-pop band, Information Society, which uses scrolling alphanumerics to suggest passage through cyberspace in a computer game, made for their track, ‘The Prize’.

Other artistic explorations of medically or cybernetically enhanced vision can be seen in the films Pitch Black and The Chronicles of Riddick and the last of trilogy, entitled simply Riddick. Richard Riddick, the anti-hero in these movies, is a violent criminal, a murderer, who somehow ends up doing the right thing. While in slam for his crimes, he paid the prison doctor 20 menthol cigarettes to have his eyes surgically altered, ‘polished’, so that he could see in the dark. In these flicks, we so bits of the action through his eyes. The scene in Pitch Black, where he sees the predatory aliens pouring out of their underground lairs after the marooned crew of a crashed colony spacecraft, is awesomely beautiful. This is the trailer for the movie.

And this is the trailer for The Chronicles of Riddick.

In this movie, the Necromongers use visioners, cybernetically adapted humans, to seek and visually examine areas that are difficult or impossible for normal human eyes to see clearly. And the brief scenes, in which the audience is shown what they see, are also stunning.

But this is low, commercial art, and so unlikely to find any praise by the High Art people, no matter how popular it is, or how technically sophisticated and visually inspired. The best comment on this kind of artistic snobbery comes from the American SF/Fantasy artist and book illustrator, Bob Eggleton.

Being a commercial artist is itself a kind of pigeonhole in the art world, but it is not a label that troubles him. ‘Commercialism for the sake of commercialism is not a sin. What I hate is commercialism packaged as fine art. That’s what Abstract Expressionism about, you’re buying into a trend much of the time. There’s nothing wrong with any kind of art, provided the artist believes in what they’re doing.’

From Nigel Suckling, with introduction by Gregory Benford, Alien Horizons: The Fantastic Art of Bob Eggleton (Paper Tiger, 1995) page 83.

And the YBAs, such as Damian Hirst, Tracey Emin and Chris Offili, were very commercial, as was Salvador Dali long before them. This was pointed out on a programme on the great surrealist on Radio 4 several years ago by Malcolm MacLaren, the genius – well, he obviously thought he was – behind the Sex Pistols.

And here’s Eggleton’s picture of Great Cthulhu, painted for Weird Tales magazine, for all the Lovecraft fans out there.

I realised I’ve digressed a little way from the central topic of this post, the fantastic computer art of Jurgen Ziewe. But these are related issues, showing the way computers, robots, space and high technology – the stuff of Science Fiction – is pushing artistic boundaries in ways that the official fine art of Conceptualism really isn’t doing. I’m also exploring a few ideas here for a much longer article, or series of articles, I intend to do on this sometime.