The Great Mouse (2004)

31 05 2011

[The first review from 'Photography in Focus', a short-running series published in 2006...]

THE GREAT MOUSE by Markus Talihaarsi (2004)

The photograph that I have chosen to focus on this month is by a young Finnish photographer called Markus Talihaarsi, one of the many talented artists to have recently graduated from Tsutomo Saeki’s Vienna based academy, once known merely for the price of its fees, but gradually becoming respected also for the rigorously loose training it provides its privileged pupils. Read the rest of this entry »





The Last Judgement (1987)

31 05 2011

[The second review from 'Photography in Focus', a short-running series published in 2006...]

THE LAST JUDGEMENT By Jan Maarsveld (1987)

The field of religious photography is lightly populated. The odd bovine grazes in a grassy corner, watched by a rambler or two leaning over a rickety fence. Oblique references to religious subjects are made in many photographs, but very few devote themselves seriously to religious themes, certainly not those of an eschatological nature.

In this way, the Dutch photographer Jan Maarsveld is somewhat of an anomaly: a modern artist working in a modern medium concentrating on ‘traditional’ subjects in a postmodern pseudo-medieval mode. He combines the devout style of Hans Memling or Van der Weyden with a twentieth century ironic sensibility. And whilst it is not known for sure whether his compositions are provoked by any kind personal faith, I feel sure that they are not intended to mock. Read the rest of this entry »





Interview: Scottish Composer Thornton Farland

31 05 2011

[Another offering from Matthew Taylor-Rosnik, first published c.2007]

(N.B The transcript of this interview has been partially edited from the full-length version that appeared in the latest edition of the printed journal)

M T-R – The subject of this interview is the Scottish composer Thornton Farland. His first major works appeared fifteen years ago, since when he has continued to hold the attention of the critics with his inimitable style of composition. His most recent work, the ambitious British Symphony, is due to premiere next month and is likely to attract more interest than ever in this somewhat mercurial figure. I take the opportunity to establish how it was that he developed his unique style and how he sees the British Symphony in relation to the rest of his oeuvre. Thornton, hello.

T F – Hello Matthew.

M T-R – A fair introduction?

T F – I can’t complain. Though I’m not so sure about ‘mercurial’.

M T-R – No?

T F – You see, when I look back over my own short career, I’m actually somewhat ashamed by the predictability of it all. And personality-wise, I’m no livewire. In my rare public appearances, I’ve never once given in to my desire to do something outrageous.

M T-R – Well, I guess we could cut mercurial. What would you prefer? This ‘conventional’ figure? This ‘mildly enterprising’ figure? Read the rest of this entry »





Interview: Italian Composer Paulo Zilotti

31 05 2011

[Another in the series of interviews by Underneath the Bunker contributor Matthew Taylor-Rosnik]

(N.B The transcript of this interview has been partially edited from the full-length version that appeared in the latest edition of the printed journal).

M T-R – It’s a pleasure to be able to converse with you, Mr Zilotti, just a few days after the premiere of your latest work, which we’ll move on to discuss in a short while. To begin with, however, I’d like to ask a few questions about the opera you wrote a couple of years ago, the now infamous Celebrity Three Sisters: The Musical. I wonder – do you ever regret holding the premiere in St. Petersburg?

P Z – Not at all.

M T-R – You don’t think that it might have had a better welcome in a more forgiving climate?

P Z – The weather had nothing to do with it.

M T-R – I was thinking rather more of the Russian temperament. Russian critics are well known not to be especially fond of foreigners messing about with their favourite writers. You don’t think that your version of Chekhov’s famous play was maybe a little disrespectful? Read the rest of this entry »





Speyerology

26 05 2011

Realising, with some horror, that such a list does not currently exist on the internet, I have compiled the following:

Books published by the Austrian-born critic Johannes Speyer (1913-1984)

Russian Literature in Context (1953)

Passages into Passages (1954)

Anticipating the Move Towards a New Approach to Reading (1955)

The Poetry of Kokimizu Ishu: Illustrated Edition (1957) Read the rest of this entry »





Ka Naurauch – The Fractured Cloud

7 05 2011

When I was a younger man, we used to live in a house with a long corridor. With dark brown walls and floorboards stained black, walking down it was a little like travelling through the centre of a tree. I do not lapse into the production of poetry very often, but when once I did, I imagined myself (in melodious verse, of course) as an ant, traipsing through a murky tube of bamboo. This corridor was my model.

It served other purposes also. In autumn, when the leaves embarked upon their customary exodus from the mother branch, I extended the joy of jumping on crisp piles of foliage to the letters that fell, with equal prolificacy – and with hurtful irony besides – upon my welcome mat. First I would collect these ungenerous letters, along with other sorry pages, and stack them loosely at the end of the corridor. Then, withdrawing to the far end of the virtual tunnel, I would dash along the given track, a living echo of those great Greek athletes of yore, a golden limbed sapling on the cusp of athletic maturity, shaking as I ran past the rare German prints (Gräup, mostly) that lined the walls, caring not for the frantic creaking of the floorboards, from the final plank of which I leapt into air at last, like a grasshopper from a leaf, cutting the air effortlessly, before falling with inconsistently heavy grace into the pile of guilty papers, which both suffered and – in some cases – scattered under the impact. Read the rest of this entry »








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