REPORTING ON ART AND FOOD from Troubled Places

Warning : This is a modern-primitive writing website, of impressionist rather then informative character.

Extinction Rebelion Esthetics

Extinction Rebelion visiting Antony Gormley

Fly now Pay Later - Extinction Rebellion at Antony Gormley

An endearing, lonely extinction rebellionist was a live female sculpture amidst Gormley's Iron Men.

The silent gestures of a protest 

The Art Loving Rebellion

Choosing Traphalgar square as epicentre for the rebel movement, Extinction Rebellion UK established itself as an Art Loving Rebellion.

Always near to spots of cultural radiance like the National Gallery; the National Portrait Gallery and many smaller galleries.

The Put All Nonsense in Perspective Exhibition - Moving to Mars, Design Museum

Starting with Babylonian observations of Mars cut on a cuniform tablet dated c.1000 BC and ending with a cartooned presentation of Mars' surface in the year of 580000 (This film presents the development of life on Mars with the speed of 1 million years p/h. In the mentioned year the temperature of Mars could reach 10-12 celsius if we start planting cyanobacteria now. This bacteria absorbs light and heat and can facilitate the development of other life forms up to vegetation on The Red Planet). The timespace perspective of AC 580000/227.9 million km makes all worries about certain national football federation's qualifications in genetic science nonexistent. And restores the natural faith and awe of the being that can think existance/universe at such godly scale.

Now enough with the philosophical aspects of this inspirational exhibition.

Back down to our worldly business and the good news that in the near future LAAF might creat a subpage called Elontown Art and Food (LAAF predicts that the first settlement on Mars will be called Elontown. Nearly certain it won't be Musktown, don't know why.)

By the time of the first settlement on Mars, LAAF will be established enough as to engage Steve Coogan and Rob Brydon for a 24 episodes of the Trip to Mars and Back tv show. For during the forteen month return trip to Mars food there will certainly be (borderline circus - see exhibition).

And what we know for now is that on the Mars Ship there won't be a Head of table person. Equality in space will triumph.

Equality table manners or The crew of the first manned Skylab at a Loewy-designed table, NASA 1973, Moving to Mars exhibition, Design Museum London

Together with table equality, there will be plenty of art on the Mars Ship and in Elontown, as to compensate for the sensory deprivation of the Earth travellers.

We own the healthy tradition of decorating spacecrafts with original pieces of art to Galina Balashova, architect and designer of Soviet spacecrafts, who designed interiors for Soyuz, Salyut and Mir programmes. Her work is still in use in the International Space Station.

Balashova added watercolour paintings to humanize the interior of crafts : 'The landscape of my homeland; winter in the garden ... summary scenes from the beach of Sudak and the Black Sea, where I spent my holiday as a child". (Extracts from exhibits' info).

Modern forms of inspace creativity include sensory chef-d'œuvre such as the smell lamp spreading earthly perfumes (the object info describes the smells as 'from forest rain to baked earth' but LAAF smelled only watermelon and cucumber)

For space fashion see exhibition..

Proposed colour pallet and material swatches for the Mir space station, Galina Balashova 1980

While food and art in the Trip to Mars are certainties. What language or languages will be spoken on the trip and on Mars remains a mystery.

Nevertheless, the big speculator that LAAF is will say ALL LANGUAGES WILL BE SPOKEN ON MARS thanks to the THE BABEL FISH of Babylonia.

17 October 2019

This exhibition is on until 23 February 2020


Arman F. reporting for ManotoTV, an Iranian TV from Moving to Mars, The Design Museum London

Moving to Mars Exgibition continues at Tottenham Hale

I don't know how they do it, but they did it already twice!

At first with their sculpture group 'Boiko in the sky of brilliance' and now with 'Moving your cat to Mars', TK Maxx Tottenham Hale is très en vogue en ce moment.

In addition of being in unison with the BiG (BG PM and SpaceX) Tk MaxX Tottenham Hale fills toiches an important point by asking a question which the Moving to Mars exhibition doesn't even mention - How do I move my pet to Mars?

After all Moscow stray dog Laika flew in space, why wouldn't Felix Domesticus or Fish Goldenus fly to Mars?

Felix ready for the move to Mars, by TK MaxX, Tottenham Hale

Linnet Rubaya and Inktober

I learned about Inktober or October - Black History Month from Linnet Rubaya, a finalist at UK Young Artist of the Year Award, whom I met at the Saatchi Gallery.

Linnet Rubaya told me that for the Black History Month she was trying to draw one black inspirational person a day.

Linet is a self-taught artist born in Harare and raised in London. She now lives and works in Leeds.

As a child of the African Diaspora her search for home has led her to have many connections to many cities and many stories.

Linnet depicts stories experienced globally by black African descendants and articulates a black modern narrative. ‘Surrender’ is a commentary on the pain,hope and strength black people all over the wold carry.

‘Black boys liberty 1’ is a direct response to the story of Tamir Rice, a 12 year old boy who was shot by police whilst he was playing outside a recreation centre with a pellet gun, and later died of his wounds.

‘Section 60’ provides commentary on the UK Government's 'emergency stop and search' procedures and the police's aggravation of young black men under the gulse of this law.

Linnet Rubaya at UK Young Artist of the Year Award, Saatchy Gallery, 7 October

'Parc des Princes' or Match de football stylisé

The painting of Nicolas de Staël was sold for €20 millions yesterday, 17 October 2019 at Christie's Paris.

According to Christie's description the 2,5 meters painting depicts the painter and his wife assisting to an international football game between Feance and Sweden at Parc des Princes, 16eme

LAAF suggests this piece of art to be called hereafter 'This is what one does with football when one is French'

Alternatively it may be called 'The better way of making money out of football' and for short ' Football à la française'

Here Christie's Paris joins Tk MaxX Tottenham Hale in its unison with LAAF's topics of the day. 

18 October 


'Parc des Princes' Nicolas de Staël

Football. Frank Valentino. Orient express and Bulgarian and other racism.

When in the early 20 century's 30s, touring in Europe American baritone Frank Valentino alighted from Orient Express at Sofia Central Train Station; a big crowd awaited him. "I didn't know that the Opera has so many friends in this small Balkan country" Valentino has reportedly said to the Sofia Opera’s representative waiting for him at the station. "I am afraid these people aren't here to cheer you Sir, but rather to see your negro valet" was the Sofia Opera’s representative's even more surprising response. As nearly none in Bulgaria has seen a black person at the time, having read in the press that the famous baritone travels with a black valet, hundreds have gathered to see the unseen. Since, and already a century later, the situation hasn’t changed much.

And while all peoples are innately racist (which is probably an atavistic, animalistic survival instinct); some of them are more experienced in taming it or at least concealing it.

All racism is bad and obstructive and probably analysing it in subgroups doesn't make any difference. Yet, I hope that the racism of people coming from small isolated places when confronted with difference will be more easy to overcome (through long enough exposure) than the racism of people who have enslaved the different. For this second type of racism proved to be particularly persistent I am afraid to say.

Therefore, Dear team England, tomorrow if somebody starts shouting nonsense at you from the stands of Vasil Levsky Stadium in Sofia; remember they've most probably never met a person of colour in their lives; nor faced significant difference of any sort for the matter.

Some years back when trying to explain Bulgarian racism to a Lebanese-Nigerian friend; annoyed at a certain point he has said "Ok, but you must have seen black people at least in cinema or on television!" "Of course we have, but this is where we've seen aliens and green men too".

I can’t explain it better really.

Хляб има да ядем as goes the Bulgarian saying. Or "We need to eat plenty of bread" meaning a lot of time will pass before we get up to the necessary standards.

Bulgaria vs England takes place on Monday 14 October at 19:45 and is described as the most anticipated game of the season by Bulgarian media.

13 October

After the Rain (of Goals)

Well, what we saw at the football match last night in Sofia, was a well planed Nazi provocation.

We also know that national-socialist movements in Eastern Europe are supported by Putin and orchestrated on the ground by apparatchiks planted in the good old Soviet times and their sprouts.

So that we know with whom we are dealing when speaking about Bulgaria next time.

Please treat it as an official political provocation, take it seriously and bring its treatment to another level.

As I am not into football I wouldn't know whether this is the usual face of football hooliganism. But it doesn't look like the habitual face of racism either. Common racism doesn't march in square formations of 50 or more, openly giving nazi salutes; coming and leaving undisturbed. So what was that and what does it mean?

Somebody is showing us something there where we will see it, as otherwise we are not looking much in this direction. (Today. bg online news media) reports that national trainer Berbatov has said "The English were superior to us, (in all senses) including genetically". Taken on the wings of this inspirational thought, I sughest "Bulgaria Football Federarion - the federation of genetic scientists" to become BFF's moto. I am sure the Nazarbayev University, Nur Sultan will happily issue them honoris causa doctorates in the subject; to match PM Boiko Borisov's certificate as 'Engineer in the field of Fire protection and safety'.

Further, speculates that the nazi episodes might be football fans' revenge on BFF and their mismanagement of the football in Bulgaria. In the sense that fans know that this is the only way to inflict punishment on the federation.

Other than that, in his typical dictatorial manner of own hands on every pop subject in the country, ex-fireman and driver of the Head of the Political Bureau of Bulgarian Communist Party and Head of State until the Fall of the Wall Todor Jivkov, and current Prime Minister Boiko Borisov demanded the resignation of the Head of BFF Bobi Mihaylov. Because this is exactly what the PM of a free, non-police state does.

In a trick of magick Boiko the Magician asks for resignation the Head of BFF accusing him for the nazi episode, which he light-heartedly calls racist. ^^ ( First start calling things with their right names). Instead of asking the resignation of say Mladen Marinov, Interior Minister or who ever the head of his secret services is.

Somebody is trying to chip of yet another country of the EU.

For more on the nationalistic magic tricks of Moscow in Bulgaria read 'The Messy Picture of Moscow's Siege of Sofia in MEPs Elections Time and Its Results' here 

Also read 'Lukovmarch/Луковмарш' under Sofia February 2019 here 

Oh, I nearly forgot. Team England congratulations!

For me, as a proud owner of a UK permanent settled status, all results of this match would have been equally welcomed.

Long live football. Down with dictators.

15 October 

'Boiko in the Sky of Brilliance' by Tk Maxx, Tottenham Hale, London

Collateral racism

I consider myself fortunate for having experienced massive amounts of bilateral racism at an early age, while growing up in an Iraqi school in Bulgaria; when I was called "dirty Arab" by the Bulgarians and "stupid Bulgarian" by the Arabs.

This bothered me only shortly, as I soon realized that the Arabs are not aware that the Bulgarians think that they, the Arabs, are darker because they don't wash enough. And hadn't done so for generations. I mean If you have the habit to wash thoroughly, head to toes, five times a day, how would you think that somebody might think that you are dirty? This from one side. And that the Bulgarians weren't aware that the Arabs think that they, the Bulgarians, are stupid because of their poverty and loose moral.

Naturally, never bothered to enlightening neither of them on how they are perceived by the other. But felt personally rather enlightened. And this is where the real benefit of bilingualism resides. To prove the long known truth that The Other is not simply different and worse than us, but also dangerous; my nicknames in my Iraqi school and my Bulgarian neighbourhood were respectively The Witch and The Daughter of Baba Yaga.

To be honest none of this made me suffer. As the teeth of this sort of ignorant racism are funny, tiny milk teeth. Hence, and maybe slightly unexpectedly, I felt totally unprepared to meet the large, grown up and mature teeth of French racism, where at the age of thirty I was informed that I am not white. I was matt, I was told and to my surprise prevented to buy my usual tones of foundation in a large beauty shop. A mean literally refused to be sold my number 2 and offered to buy number 3 of my habitual cosmetic product.

This is how uncontrollably aggressive are France's racist teeth. Whole 15 years later, and more precisely last summer, this particular beauty shop chain closed their shops for a day of training in appropriate behaviour. The problem for me in that timespace spot was that I couldn’t understand what do they mean calling me matt. I mean it hasn’t been self evident when surrounded by brunettes, all of which matt.

I realized what they have meant years later, only after meeting my English manfriend next to whom I always look nicely bronzed. Having finally realized that I am matt, I tried to change my closest people’s perception about me. But, it turned out to be very difficult to convince my English manfriend and my Bulgarian son that I am not white. They don't understand me and laugh at me. “Look, look,” I will tell each of them while putting my hand next to his “I am not white, I am matt”. “Yes, you are white and yes, you are crazy” they will both agree.

There France, go and argue, who is matt and who isn’t.

We could say that French racism in its mature age has developed a complex, the Blond Complex. On French TV all female presenters are blond. False blond that is, if not completely bleached then at least highlighted. The Blond Complex has become a common North Meditaranean Coast Complex in the last years due to the emigration waves - the more you look like the people from whom you try to differentiate the more you change your look (Bulgaria who has very few migrants still has an admiration for dark hairs). Thus when in Ioannina, Greece I unwisely went to the hairdresser armed with useful vocabulary like λευκό κρασί and ερυθρό κρασί and telling myself “I want to experience the Greek look" my hair was decolourated, then bleached to scandinavian blond. Thence, when a year later in Naples, Italy I was asked "Highlights?" I said "No, thank you, dry blow only".

In conclusion it has to be mentioned that racism has positive sides too, for example its codecence. The person focus of racism often is talk to and accompanied as if five year old child. Thus, in France I was systematically given more change back. Whenever I would try to return the extra euro or two, it would be impossible, because obviously people who speak French with an accent can’t count either.

14 October

Into the Night. Cabarets and Clubs in Modern Art, Barbican Art Gallery. Photo @Caroline Fakhri

Into the Night. Cabarets and Clubs in Modern Art, Barbican Art Gallery by Caroline Fakhri

This review is slightly late coming off the press due to the birth of my first grandson on the same day as the media viewing 3rd Oct.

The inclusion of Tehran in this exhibition was of particular interest to me as I lived in Tehran for six years post Revolution and have known the city for the last forty years travelling back and fourth at intervals, the most recent visit being this September. Despite my knowledge of the City and the places which existed pre 1979 Revolution, I had never heard of Rasht 29 until I went to Into the Night Exhibition. I was pulled in immediately, excited to see what the nightlife of Tehran had once had to offer.

So not to only focus on Tehran but to use it as an introduction to the exhibition as a whole which explores the ‘social and artistic roles of cabarets, cafes and clubs around the world’ The exhibition is arranged by city making navigation very easy. I was of course tempted to skip straight to Tehran but was patient and gave each city a fair share of my attention.

The exhibition focuses on global locations from New York to London, Paris, Berlin, Vienna, Tehran, Mexico City and Ibadan, bringing together over 300 works, including paintings, drawings, prints,films and archival material. These places, which were somehow free from the social and political norms of the day, no longer connected to ordinary everyday life, gave artists and the audiences that frequented them an opportunity to escape from the mundane and explore ideas that might otherwise have been frowned upon.

Into the Night begins its journey in Paris, a fitting start, on the ‘eve of the 20th century, in the Chat Noir (ground floor) and Cabaret Fledermaus in Vienna, where experimental cabaret productions were staged. Upstairs meanwhile, I ventured into Berlin’s nightlife probably immortalised in most peoples minds of my generation by the film Cabaret starring Liza Minelli. Germany was left scarred by the horrors of WW1 and the Weimar Republic was marked by unemployment and disillusionment alongside rapid social change.’ Night clubs, cabarets and variety theatre took advantage of the relaxed censorship nurturing a thriving entertainment industry.’ Critiques of militarism and patriotism manifested in satirical cabaret songs and alternative identities thrived as depicted in female artists’ work such as Jeanne Mammen and Elfride Lohse-Wachtler who documented the flamboyance and diversity ‘with a focus on marginalised communities.’ It was a time of experiment and change.

The full scale recreation of some of the spaces such as Cabaret Fledermaus in Vienna 1907, give a real feel of what this venue was like. Cabaret Feldermaus is impressive with its multi coloured ceramic tiled bar. The colours and the business of the place made me dizzy, contrast this with the black and white chequered flooring guaranteed to induce a feeling of nausea for even the most seasoned of drinkers after a couple of alcoholic beverages.

Much later on in the century, 1966, the night club Rasht 29 emerged in Tehran as a creative space for painters poets musicians and film makers. The works of artists such as Parviz Tanavoli and Faramaz Pilaram hung in the lounge of Rasht 29. Amid rapid economic development and social change Iranian traditions as well as the aesthetics of modernism and pop art created new visual languages. Other venues such as ‘Mari Artists and Writers Club’ are also celebrated, founded in the early 1960s in Nigeria. ‘The exhibition looks at how these places were founded as laboratories for post colonial artistic practices providing a platform for a range of dance, operas and jazz as well as poetry and literature readings’.

Until 19th January 2020

Manon Oulmet with one of her works from the 'Altered' series at UK Young Artist of the Year Award, 7 October at Saatchi Gallery

Manon Oulmet is a London-based photographer. Her work advocates understanding and compassion while inspiring sel-confidence and positivity with the individuals with whom she collaborates. mamon's work is born from desiring to learn human stories and to celebrate each individual that she photographs. "Altered" is a series that aims to encourage inclusion. it focuses on individuals who have unwillingly embarked on life-chaning body alterations due to illness, war, accidents and violence. it illuminates people who often feel marginalised and contributes to conversations about equality and diversity. The process aims to encourage the sittiers to increse their confidene and offers a path to reclaim their identityt, employing the practice of the "therapeutic gaze" wherby the artistic process can take its participants on an emotional journey of self-discovery.

(from press relieze)

UK Young Artist of the Year Award took place on 7 October, in Saatchi Gallery. The exhibition alas, lasted only an evening .

Olafur Eliasson's Sensory Rooms and The Non-Pavillion

Sensory Rooms, is how I perceive Eliasson's very curious exhibitions and don’t wonder that the audience contains huge numbers of children and babies (on a Sunday).

Sensory here is not just moving lights, colours, and sugary fogs, it is also things to put you put in your mouth as Studio Olafur Eliasson Kitchen and Tate Eats have developed a special exhibition menu which is very healthy and apparently well sourced. It is also agreeable to the eye and the tongue.

The video of Eliasson's "Ice Watch" London-Paris series from last year, as well as the photo-series with the same subject : melting glacier ice piece, reminded me of a French installations at the Design Week exhibited in V&A's Sackler Courtyard mid September.

The Non-Pavilion had for basis la théorie de la décroissance, or the Degrowth theory. Here, I was enchanted to see how the theory, worked in my university at my time, has been grown to maturity, transformed into an art installation and exported abroad. In The Non-Pavilion through augmented reality depicting in 3D the three correlative axes of: Economic-growth, Biospheric-health and Human-well-being the creators ( Studio Micat, There Project and Proud Studio) were making visually clear that economic-growth leads to decline in biospheric health and therefore human well-being.

At The Non-Pavilion the visitor was also able to discover the opposite by affecting the three axess - the economic degrowth leads to a balance between the biospheric- health and human- well-being. The surprising element of the installation was the bit that showed that the best chances for nature to survive is if we, humans, shrank or degrew ourselves. Yes, just like in Honey, I Shrunk the Kids. Through a 3D increase/decrease correlation of human figures and houses from one side and trees and foxes from other, the actively participating visitor was able to slow down, speed up or reverse the Biospheric or Nature’s decline.

Nature will survive, if we shrunk ourselves to a quarter of our present size. And while Olafur Eliasson's "Ice Watch" represents Nature through pieces of glacier ice that shrink to disappearance in human presence. The collective Degrowth Non-Pavelion shows how we could grow-up Nature by shrinking human presence.

Olafur Eliasson has still three months to go at Tate Modern

For the Non-Pavilion more here

For the Degrowth Theory, find yourself a serious source

30 September

Olafur Eliasson, In real life, Tate Modern. Photo: LAAF

In the Terrace Bar, in addition to Studio Olafur Eliasson Kitchen’s set menu at some £17; the Studio’s Kitchen Book is available for page turning.

What I liked about the Kitchen Book are the photos - yes, Olafur appeals to the child in me - the pictures in the book. The menu is childish too: purees, dips and soups. All is smoothed, mashed, blended and baby-food coloured - The photos are black and white, or generally grey and the only coloured spots there is the food.

This is how I imagine vampires see their food - in coloured contrast with everything esle. Like the vampire in Timur Bekmambetov’s 2004 Night Watch.

Kitchen Book

Studio Kitchen set

For how much exactly should we shrink ourselves in order to preserve nature, please check the video by clicking here 

New on LAAF: 

NG's MHAAT (This is a secret message coded specially for me) under The Big Here

Poetry from Baghdad Under Bullets and The Crackdown on Human Rights and Freedoms in Bahrain under Little East, here


Rape Fashion under CW WB 2019 here

Caroline Fakhri's Teacup in Tehran 2019, now continued under LAAF on Tour, here

Berlin Art Week 2019 under Berlin ruft here 

Flora Tristan & Paul Gauguin vs Pious Entrepreneurs under Digestions 2019 here

Cultural Babies under CW WB 2019 here

The Party at Handsome under La Bouf here



Baghdad, Adieu Poetry Reading at Poetry Café

The excellent trilingual poetry reading that started this afternoon at P21 Gallery and continued through the evening at L'Institut français; will overflow into tomorrow 1830 at The Poetry Society, where three poets will be reading in Arabic, French and English each poet's poems. 

Salah al Hamdani is an excellent storyteller accompanied by his not less talented American translator Sonia Alland and French translator  Isabelle Lagny.

Sunday, 28th September 2019 | 18:30

The Poetry Society - 22 Betterton St, London WC2H 9BX

Salah al Hamdani and Sonia Alland reading from Baghdad, Adieu at P21 Gallery, 28 Sept 2019 about 1500

Trevor Paglen: From “Apple” to “Anomaly”, opens TODAY in The Curve, Barbican, 26 September 2019

Not sure about sober in October, but this show is an absolute must!

Trevor Paglen: From “Apple” to “Anomaly”, The Curve, Barbican

تريفور باغلن -" من التفاح إلى الانحراف" في "ذي كرف"، باربيكان

يفتتح اليوم عرض عظيم للفنان تريفور باغلن تحت عنوان " من التفاح إلى الانحراف"  وقبل التطرق الى العرض اود ان اضعه في إطار مكان العرض.

وهو ممر "ذي كرف" في حي باربيكان السكني العجيب الغريب والذي لا مثيل له. فهو حي سكني وثقافي شبه مغلق - فيه مساحات عامة كممرات وساحات وحدائق ومساحات اخرى خاصة - مفتوحة للعين لكن ممنوعة للدخول. تم بناء باربيكان في هذه المنطقة التي تعرضت لقصف شديد من قبل القوات الجوية الألمانية خلال الحرب العالمية الثانية، مما سمح ببناء حي جديد بأكمله

الخاص بالباربيكان هو ان الحي كله مرفوع فوق مستوى الشوارع المحيطة به ومداخله مخفية من عين وبصفاته هذه يشبه قلعة عامرة - وهو كذلك مغلق للسيارات والأعلانات والنشاطات التجارية ولهذه "النظافة" آثر مريح على نفس الأنسان الخدمات المتوفرة فيه متعلقة بالضيافة كالمقاهي والمطاعم المرتبطة بمركز باربيكان الثقافي الواقع في قلب المجموعة السكنية وقدامه بحيرة اصطناعية مستطيلة طويلة يكثر فيها النيلوفر و تحيط بها النخيل وفي احد اطرافها شلالة وفي طرفها الثاني حديقة. والمجموعة كلها مصنوعة من أجود أنواع الأسمنت المشغول يدويا، أما إطارات النوافذ والشرفات فهي مصنوعة من خشب الأبنوس

هناك قاعتين عرض في قلب مركز باربيكان الثقافي، ونشاطهن المتزامن مكرس هذه السنة لإعادة النظرة إلى الحياة من وجهة نظر العلاقة بين الإنسان والذكاء الأصطناعي

سمي عرض "تريفور باغلن" "من التفاح إلى الانحراف " ويمثل عمل فني - قطعة عمل عملاقة مكونة من 30.000 صورة فوتوغرافية - فريد، من خلاله يأخذ الفنان الزائر، حسب رأي ، في رحلة إنسانية من الجنة إلى الجحيم . ينطلق الفنان في عمله من طريقة "تعليم" أو " تطعيم " الذكاء الاصطناعي بمعرفة ومعلومات عن طريق تمويله بأعداد لا تعاد من نماذج شيء معين - وها يفتتح المعرض بصورة تفاحة وثم تليها صورة تفاحة ثانية، وبعدها صور اشكال وانواع والوان من التفاحات ، وبعدها تفاحات في حالات لاتحصى وهكذا تتكون "غيمة التفاح" وتليها غيمة أشجار التفاح وبعدها غيمة النباتات بصورة عامة والتي تتصل من جانبها بغيمتي السماء من جهة والأرض من جهة ثانية وهي على دورها تتصل بغيوم أخرى مثل غيوم الإنسان بنشاطاته الغير معدودة من طرف والحيوانات والكواكب والأشياء المادية من طرف آخر

وهكذا الى ما نصل اصناف ك: متخلف، محرض، أيديولوجي ، عنصري ، شاذ الخ وهذا العمل الفني عريض كالحياة نفسها ومضحك ومرعب وساخر وغامض مثلها

وهو عرض يجب ان لا يفوتكم للباربيكان مطعمان ومقهى وتتمتع كلا القاعتان الفنية بمخزن فني

٢٦ ايلول

Sea of Tranquility Sea of Plastic by Polite Extinction, @politeextinction

Sea of Tranquility Sea of Plastic

Mare Tranquilitatis is a lunar mare that sits within the Tranquilitatis Basin on the Moon.

Polite Extinction, went to Goldsmiths BA, MA, Museology in Ed, PGCE university of Brighton and is currently in artistic residence at Budapest.

Here We Go Again or Screaming Brexit

Credit @art_decoded. Follow @art_decoded on Instagram

Screaming Johnson, an ahead of its time image of Boris as captured in September 2020 by Francis Bacon

"Oh, Theresa tried so hard but in the end you couldn't make Brexit happen. We just hope that you are not taking it as badly as this painting is making you out to be." @art_decoded

"If this seems familiar, it is because it is based on Francis Bacon's 'Study of Velasquez's Portrait of Pop Innocent X' or The Screaming Pope as it is otherwise known.", @art_decoded continues its strict analysis.

Yet, Laaf just discovered an apocryphal edition of Nostradamus' Chronicles in which it is revealed that Bacon's inspiration for The Screaming Pope wasn't his tumultuous relationship with Peter Lacy as largely thought, but a vision of Britain's Prime Minister in September 2020.

The apocryphal chronicles reveal that the vision came to Bacon at about 0710 at the junction of Greek Street and Old Compton Street, Soho on 25th of May 1967, after a drinking night with Lucien Freud, Frank Auerbach, Henrietta Moraes and Lady Caroline Blackwood.

"You will paint a Prime Minister caught in a scary stuff called Brexit, ne cherche pas a comprendre, and you will call it Screaming Pope" a mighty voice whispered in Bacon's ear the chronicles further unveil.

Inspiration courtesy @art_decoded.

Follow @art_decoded on Instagram

It's one of Laaf's favourites

For Brexit Free gigs, spaces and events visit B-Free subpage