Monday, December 19, 2011


Sydney's summer (and Bill Gates vacation) has been ambushed by the Girl-Child. It's generally cool, cloudy, and wet, despite the few days of dazzling blue sky, which only reinforce what we're not having. I've had one swim only so far, and not one showing of the body-less-beautiful at the beach. Never mind.

So it's all rather indoorsy. There is the not to be overlooked blockbuster at the Art Gallery of New South Wales, the 'entire' contents of the Musée Picasso, Paris (closed for renovation) and certainly more than I've managed to see on repeated visits to same. 150 works are superbly displayed, and yet again, one visit is not enough. It's strange to see them dislocated from their more natural ambiance. It makes them even more arresting. I was pretty much drained after two hours, which is about my gallery limit at this level of intensity, and still one room to go.

Here's the about to retire, sadly, Edmond Capon doing a bit of publicity and giving some of his thoughts on the man and his work.

Bookings are heavy. Book in advance.

Not so far away, tucked among the gentrified Victorian terraces of Paddington is the Sherman Contempory Art Foundation founded by Brian Sherman whose son Emile was, you may remember, the producer of The King's Speech.

In this one room there was to be found, until the weekend just past, a deceptively simple installation by Tokujin Yoshioka: Waterfall. In an unintended diversion on the way to the greengrocer, shoes covered with paper slip-ons, I heard myself make a little gasp when I walked in, totally taken aback by the simplicity and beauty and silence - a quantum change from the just outside bustling.

With thousands of straws, Tokujin Yoshioka fills the room with the appearance of billowing soft clouds of transparent water particles, to walk though and sit amongst, in tribute to the greatness of nature and the beauty in that greatness.

Tokujin Yoshioka's world is here.

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