A Grapevine service announcement Be patient: That eruption is expected to last until 2015
Culture
Art
THE LIMITED PLEASURE OF MALE BEAUTY

THE LIMITED PLEASURE OF MALE BEAUTY

Published June 20, 2012

The International Conference On Art And Translation, held from the May 24 to 26 at the Nordic House, turned out to contain a fine selection of carefully picked topics and artists from around the world. It featured three days of moving images and sounds, which inspired the audience and activated mind and consciousness. In particular, the concept of male beauty, as Swedish Artist Imri Sandström sees it, was of particular interest to me.
Imri opened with a new distinction between the perception of the male and the female body. While female beauty appears everywhere, is perceived and absorbed naturally, male beauty is far less an object. Imri claims that an exception is made in the moment of death. Death brings out the beauty of a male body, Imri says. She called her performance: ‘The Spelling And The Spell Of Dying Men.’ She explored relations between the Christian martyr Saint Sebastian and the writer Yukio Mishima. Mishima was born 1925 in Japan and committed ritual suicide, “seppuku,” in 1970. In his autobiographical novel ‘Confessions of a Mask,’ Mishima describes an erotic encounter with a reproduction of a painting of the saint. Sebastian is depicted in his most famous pose, arms above his head, one over the other, tied to a tree and pierced by arrows. This pose attracts the young Mishima, who falls in love with the picture and considers the dying body extremely beautiful.
A man in our society is associated with beauty only through a heroic, violent death. Society maintains a careful surveillance to ensure that men shall have no part in beauty. Physical beauty in the male, when considered an “object” in itself without any intermediate agent, is despised, and the profession of the male actor—which involves constantly being “seen”—is far from being accorded true respect. A strict rule is imposed when men are concerned. Namely: a man must under normal circumstances never permit his own objectification; he can only be objectified through the supreme action—which is, Mishima supposes, the moment of death, the moment when, even without being seen, the fiction of being seen and the beauty of the object are permitted.
Yet, the idea of limiting the perception of male beauty to the moment of death seems old fashioned to me. Death does not contribute to beauty but to decay. Notably, I think we should allow ourselves to enjoy male beauty at any moment, on the same level as female beauty is perceived and relished.



Culture
Art
<?php the_title(); ?>

Dancers In The Dark

by

A funky bassline is bumping out of KEX Hostel as I walk up to its patio. As I pass the window, I hear the horns and lyrics of Janelle Monáe’s “Tightrope.” I picture her smooth moves in the song’s music video and I already feel like dancing. Once inside, I duck quickly through the door into Gym & Tonic, trying to let in as little light as possible in the process. No lights, no lycra, no lies: it is pitch black when the door closes. (I can’t actually confirm that there is no spandex, but I certainly can’t see any.)

Culture
Art
<?php the_title(); ?>

Breathing Life Into Arts Education

by

With university becoming more expensive in many parts of the world, mainstream education tends to lean towards the former, feeding the idea that higher qualifications should serve first and foremost as a path to economic security rather than to an enlightened viewpoint. The “university experience” has come to mean both a kind of holiday camp for young adults to begin establishing themselves away from their family, and a programme of economically motivated and vocational-minded learning. Education, cast in such stark terms, can be seen as an investment to be weighed against future earning potential. Of course, not everyone sees it

Culture
Art
<?php the_title(); ?>

Pop Vomit

by

On the wall of a dark room in Reykjavík’s Hafnarhusið art museum, a stream of brightly coloured icons is fizzing out of the ground. Triggered by the tiniest sound, they erupt onto the wall at every footstep or word, tumbling into a huge pile and bobbing around like Pop Art Cheerios. Some are familiar, some are less so–classic cartoon characters wobble around alongside unfamiliar product logos and Chinese lettering. “This idea originated in Singapore,” says Mojoko, a.k.a. Steve Lawler, who works with programmer Shang Liang on the project. “It was designed for a children’s exhibition at a museum. We were

Culture
Art
<?php the_title(); ?>

Banksy In Iceland?

by

Banksy may have been to Iceland. A while ago. And he may have left a mark or two. This has not been verified, but whoever did the stencil accompanying this article would in any case surely acknowledge being under the distinguished anonymous British street-artist’s influence. We will leave it up to readers to figure out exactly where this is. The photo was taken by Claudia Regina, in 2012. Apparently, one Graham Lloyd also spotted the piece in 2012. Locals seem to have discovered the artwork more recently, as images shot this summer have started circulating on social media. Also in

Culture
Art
<?php the_title(); ?>

Urbanization On Paper: A European Narrative

by

Spark Design Space has a clean minimalist facade, a welcome place to rest your eyes next to the garishly painted corrugated tin front of its neighbour Kiki. The large glass windows show the dozens of posters tiled on the back walls of the building, each in a different colour and arranged to make a gradient from purple to red to orange to green in more subtle counterpoint to Kiki’s unsubtle rainbow. The posters are Paolo Gianfrancesco’s print show `Urban Shape,’ up now until September 26. Each one is a map of a different European capital, derived from the open source

Culture
Art
<?php the_title(); ?>

Tying A Ribbon On Biophilia

by

Sitting upstairs at Iðnó, pouring out a cup of coffee in a fetching fluorescent yellow ensemble, an animated Björk is expressing how pleased and surprised she is that people still want to talk about her work. “I spoke to someone earlier who had been online researching all the Biophilia set lists and comparing them,” smiles Björk, “and I was like, ‘respect!’ It’s crazy that people actually still care, or can be bothered.” She hasn’t done a press day for three years. The last time seems a long time ago, back when Biophilia was being unveiled to the world—the album app

Show Me More!