Monday, September 29, 2014

Xi Jingping's Tian'anmen Square, Berlin Wall, or Waterloo?

Last weekend, many people around the world watched once again, in horror, the clashes between pro-democratic students and citizens and the governmental apparatus.  Hopefully, the situation would not deteriorate into the tragedy took place in Beijing, 25 years ago, when the army, ironically named the People's Liberation Army, shot their way to disperse peaceful demonstrators in Tian'anmen Square (Tiananmen Square) in the heart of Beijing, an event in which I was a peripheral participant.



This time, watching in safety, I experienced what the rest of the world felt when the tragic event unfolded in Beijing and elsewhere in China then, sympathy, dismay, and anger.

The trigger to the mass protest was Chinese government's forcing Hong Kong citizen to choose from 2-3 pre-approved candidates for chief executive in their 2017 election, making a mockery of their universal suffrage. 

Once again, young people led the charge in their attempt to secure a better future for themselves, and social media played a major role, though Chinese government is furiously deleting and blocking the spread of the messages.

Censorship, or self-censorship is nothing new in China, such as I reported before: More Social Media Unavailable, What One Cannot See on Flickr in China. BBC reported that Instagram appears blocked in China and on Weibo (Twitter style Chinese micro-blog), the search result of 香港 (Hong Kong), yielded this message yesterday: "Sorry, the page URL you are looking for is incorrect, or the page does not exist."
 
http://matthewfelixsun.tumblr.com/post/98690972379/on-chinese-micro-blog-weibo-i-searched-for

Did it mean that Hong Kong was irrelevant to China's economy growth, and international image?  Did it mean that Hong Kong no longer existed in the censors' minds?  It was an ominous sign.

Carrie Gracie, BBC's China editor, wrote a very thoughtful article: Hong Kong: 10 things Xi Jinping might be thinking, and I could only hope for the best, yet fear for the worst.

New York Times published an article by
Hong Kong is already a mature, prosperous enclave that has grown relatively immune to the blandishments of mutual prosperity that helped keep it stable for 16 years of Chinese rule. And as a former British colony with its own laws and traditions of liberty, a severe crackdown on mostly peaceful protests would almost certainty backfire here, especially under the glare of international attention.

“On the mainland, as long as you can control the streets with enough soldiers and guns, you can kill a protest, because everywhere else is already controlled: the press, the Internet, the schools, every neighborhood and every community,” said Xiao Shu, a mainland writer who is a visiting scholar at National Chengchi University in Taiwan. “In Hong Kong, the streets are not the only battlefield, like on the mainland.”

At the same time, Hong Kong has been under Beijing’s sovereignty for long enough now that even modest concessions could easily send signals across the border that mass protests bring results — something the authorities in Beijing seem determined to prevent, mainland analysts say.
Xi, the new leader who consolidated his personal power through party jockeying and anti-corruption purges, has been trying hard to create a benevolent and open image, greatly aided domestically by his glamorous former singer wife, Peng Liyuan, whose celebrity status and easy manner seduced many oppressed folks in China.  However, Xi has never exhibited any inclination to listen to the people so far, therefore I have no reason to hope.

The pressing question is, will Hong Kong become Xi's Tian'anmen Square, Berlin Wall, or his - and by extension - his party's Waterloo?

Take care, Hong Kong!


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Sunday, September 28, 2014

Brilliant Norma Despite Silly Costume and Unsatisfactory Direction

Last night, I saw San Francisco Opera's Norma, a bel canto opera by Bellini about love, betrayal and sacrifice - it was a great night at opera, manifested in great singing from all soloists and chorus, and the fine conducting, though the staging was not satisfactory and the costumes designed by Jessica Jahn were though all right for most characters, horrible for the title character, who looked like Snow White’s evil stepmother; at best, Massenet's flighty Manon. The great soprano Sondra Radvanovsky, with her glittering look, was so out of place in this gloom setting and drama, was forced to sabotage the drama she created so magically with her voice, a voice I fell under its spell when Radvanovsky made her first San Francisco Appearance in Il Trovatore.  I tried to concentrate but her pale golden dress constantly yanked her out of context and I was convinced that one really needed to see it twice - once with eye open and the other with eyes closed to enjoy the drama and her voice properly.



The singling, though not 100% perfect, was glorious.  However, the rich toned mezzo Jamie Barton as the innocent novice Adalgisa was a serious miscast.  Her singing was lovely and meaningful but she sounded like Mother Earth Erda, so formidable, so unshakable, and sounded so much more mature than the brilliant voiced Norman; with her repeated bold, therefore improper, caresses of the grand priestess Norma, I often felt that their roles were reversed, and I was watching a heroic Mere Marie comforting a distraught Blanche in Dialogues des carmélites. When she lightened her voice up, she sounded appropriately young; but overall, she sounded just too rich, regal and grand for her own good. A lighter voiced soprano is much more appropriate for this character.  I would love to hear her in grand mezzo and contralto roles by Verdi and Wagner.

Tenor Russell Thomas, replacing Marco Berti, was another delight of the evening.

I was very grateful for music director Nicola Luisotti, who manged to make some stretches of Bellini's dance-like ditties, which can be giggle-inducing, serious and menacing; he succeeded here when many others had failed. 

The staging by Kevin Newbury was all right - nothing too bad except for planting Norma on stage during overture, which didn't give us any new insight to the character, and effectively destroyed the suspense and magic of the much anticipated and delayed entrance of Norma.  He didn't give much direction to individual characters or moment and sometimes Norman moved like a bitter, petty and brittle Hausfrau, and the Adalgisa failed to register any shock or even surprise when she learned that her seducer had fathered two children with Norman.

Placing Norma and her children in a doll house set, when she was seriously contemplating killing them to revenge on her betraying lover, the director succeeded in making me feel that I was watching a puppet play and it was hard to believe that she was really that serious about killing, more like posturing, perhaps to self-medicating and pacifying. 

There were too much glitters and magic on stage, such as the moment that the snow (glitter)-covered mistletoe branch Norma cut turned into Christmas holly.  And that was indeed a giggle-inducing moment.

I really missed the coherent staging from last production of Norma at SFO directed by James Robinson, whose direction was panned by most reviewers but I found it very coherent, effective and moving.

Last performance of the run is on September 30th (Tuesday).  Don't miss it.

This production will go to Canadian Opera Company, Gran Teatre del Liceu and Lyric Opera of Chicago, some of them, if not all, with Radvanovsky.  I hope that she'll get new costumes before that; after all, this Norman in San Francisco was all glitter and gay, yet her two little sons were practically in sacks.  What a mother!


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Thursday, September 25, 2014

Oil Painting "July Meteors" in Berkeley Art Center

July Meteors

The title of this painting, July Meteors, originates from a Chinese phrase, 七月流火, which means that in July, when stars move westbound, cooler weather arrives soon; I have always been drawn to the mystic and somewhat fatalistic image of this concise yet profound phrase, without much understanding.

Right before the Fourth of July this year, suddenly there was some unexpected disturbances took place in my life and I was mostly assailed by shock and dismay, out of all things, and soon I was enveloped in a chill, much colder than the already too cool San Francisco summer. It was the realization of abrupt and decisive change caused me much alarm and disquietness and then I suddenly understand the meaning of that phrase, and the helplessness sedimented through thousands years of valiant and often futile struggle, and composed this rather evocative abstract piece, to channel my compound feelings.

I entered this piece for a juried exhibition and silent auction at Berkeley Art Center and it was accepted for the event.  

Exhibition: October 18-25, 2014 
Gallery hours: Wednesday – Sunday 11:00am – 5:00pm  
Silent Auction Fundraiser: 
Saturday, October 25, 5-9 pm - 
VIP Reception 5-6 pm $70 VIP Ticket
Auction Main Event: 6-9 pm $40 Auction Ticket

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Monday, September 22, 2014

My Favorite Sculptures at Schloßberg, Graz


DSCN8905 _ Lion: Major-Hackher-Denkmal, Bastion of Schloßberg, Graz, 8 October

The hill in the city of Graz, Austria, Schloßberg, boasted many monuments, on the ground of the fortress destroyed by the conquering Napoleon's army, such as the Lion: Major-Hackher-Denkmal, Bastion of Schloßberg (above).

Amongst many memorable sculptures, my favorite one was a large relief, titled Untersteiermark unvergessene Heimat (Lower Styria Unforgotten Home) (Graz 1945), whose poignantly depiction of displayed people by the raging war.  In regardless of political situation, the horrible effect of war on people were just deplorable.

DSCN8931 _ Untersteiermark unvergessene Heimat Graz 1945, Schloßberg, Graz

My second favorite sculpture was titled Furchtlos und Treu - INF.RGT.27 - 1682-1918 (Fearless and faithful).  This stone sculpture of a noble-looking man holding a heavy sword, looking straight forward in the most steadfast fashion. Its effect was enhanced by the fact that it was mounted on a red-brick wall of a fortress, dramatically draped with ivy leaves.  The heroism of the sculpture though had a disturbing taste of the nationalist fervor, much appreciated in totalitarian states, such as Nazi Germany and the Soviet Unions.  Austria was the right place to reflect on ambiguity and contradiction.


DSCN8973 _ Furchtlos und Treu - Fearless and faithful - Inf.RGT.27 - 1682-1918, Schloßberg, Graz


My Favorite Museum Collection Series
>> My Favorite Museum Collection Series 96: My Favorite Altar and Fresco at Barmherzigenkirche, Graz
<< My Favorite Museum Collection Series 94: My Favorite Artworks at Stadtpfarrkirche zum Hl. Blut, Graz

List of My Favorite Artworks in the Museums I've Visited

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Thursday, September 18, 2014

My Favorite Artworks at Stadtpfarrkirche zum Hl. Blut, Graz


DSCN8658 _ Katholische Kirche Graz-Sanktdtpfarre zum Hl. Blut, 8 October DSCN8641 _ Katholische Kirche Graz-Sanktdtpfarre zum Hl. Blut, 8 October
 
The Graz parish church, Stadtpfarrkirche zum Hl. Blut (Parish Church of Holy Blood), nestling quietly in the the busiest street of the city, Herrengasse, had a wonderful baroque façade containing my favorite sculpture of the church, a scholar or a clergyman in a distinctive long robe and cornered hat, holding a large folio and a paper roll. Face serene and intelligent, pose determined and a bit defiant, the figure was shrouded in a slight mystery.  The outline and the coloration of the figure and the background were so cleanly delineated that the sculpture was worthy of a drawing by the incomparable John Flexman

DSCN8659 _ Stadtpfarrkirche, Graz, 8 October

My second favorite art in the church was two large panels of stained glasses behind a large crucifixion.  These two panels were noteworthy, mostly for depicting the heinous Hitler and Mussolini watching the Taunting of Christ (left panel, right column, fourth pane from bottom).

DSCN9249 _ Hitler & Mussolini, Stadtpfarrkirche, Graz, 9 October

DSCN9252 _ Hitler & Mussolini, Stadtpfarrkirche, Graz, 9 October

DSCN9251 _ Hitler & Mussolini, Stadtpfarrkirche, Graz, 9 October

A rightful posture of apology from Austrian people.


My Favorite Museum Collection Series
>> My Favorite Museum Collection Series 95: My Favorite Sculptures at Schloßberg, Graz

<< My Favorite Museum Collection Series 93: My Favorite Altar Pieces at Mariahilferkirche, Graz

List of My Favorite Artworks in the Museums I've Visited

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Saturday, September 13, 2014

My Favorite Altar Pieces at Mariahilferkirche, Graz


DSCN8692 _ Mariahilferkirche, Graz, 8 October DSCN8705 _ Mariahilferkirche, Graz, 8 October

DSCN8704 _ Mariahilferkirche, Graz, 8 October

DSCN8710 _ Mariahilferkirche, Graz, 8 October

There are many interesting churches in Graz and one of them I visited in 2012, Mariahilferkirche and cloister, impressed me very much with its startling altar pieces.

DSCN8693 _ Mariahilferkirche, Graz, 8 October

The most striking one was an altar of Pietà, whose particularity was that there was a sword piercing into Maria's breast.  It was a very disturbing and moving image and hard to forget.

DSCN8700 _ Mariahilferkirche, Graz, 8 October

I happened to have seen quite a few similar images during that trip; in the very same church, on the side wall, I also saw this standing alone Maria pierced by a sword.  In other church, I even saw a Maria pierced by seven swords!

DSCN8701 _ Mariahilferkirche, Graz, 8 October

The second favorite altar in Mariahilferkirche featured a dead scene of a saint, perhaps, Maria. 

DSCN8696 _ Mariahilferkirche, Graz, 8 October

The strong contrast between the splendidly colorful angel and the bleached dying Maria were very striking, and their postures echoed each other, and formed a broad and comforting embrace.  Very moving.

DSCN8696m _ Mariahilferkirche, Graz, 8 October (detail)


My Favorite Museum Collection Series
>> My Favorite Museum Collection Series 94: My Favorite Artworks at Stadtpfarrkirche zum Hl. Blut, Graz
<< My Favorite Museum Collection Series 92: My Favorite Sculptures at Institut für Klassische Archäologie, Karl-Franzens-Universität Graz

List of My Favorite Artworks in the Museums I've Visited

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Friday, September 5, 2014

My Favorite Sculptures at Institut für Klassische Archäologie, Karl-Franzens-Universität Graz


DSCN9102 _ Universität Graz, 9 October

As I reported shortly after my trip to Graz in 2012, I was delighted by my visit to Institut für Klassische Archäologie at Karl-Franzens-Universität Graz, for its collections of many classical Roman and Greek marble sculptures and reliefs.  According to the university, "the Institute is home to significant archaeological collections of ancient vases of Greece, objects from local sites as well as casts of ancient sculptures."

There were many beautiful sculptures to admire, many of the had incredible ethereal beauty in their wonderfully proportioned forms and polished details, such as these works below:

DSCN9113 _ Universität Graz, Graz, 9 October

DSCN9137 _ Institut für Klassische Archäologie, Universität Graz, 9 October

DSCN9149 _ Institut für Klassische Archäologie, Universität Graz, 9 October

Yet, pressed, I had to name the Niobe below as my favorite - it was not the most polished piece to behold and the deliberately clumsy posture of the grief-stricken queen was rather ungainly, yet more moving for that.  What moved me most were her stunned facial expression and the terrified face of her little daughter clinging to her, trying desperately to avoid the fury of the gods, who had just killed all her eleven siblings, provoked by the boasting, now belatedly repenting Niobe, a moving subject also propelled me to make an abstract installation last year.

DSCN9209 _ Institut für Klassische Archäologie, Universität Graz, 9 October

My second favorite was a huge head of a noble horse, with its lean bones, fiery eyes and flaring nostrils, looked supremely eloquent and elegant:

DSCN9152 _ Institut für Klassische Archäologie, Universität Graz, 9 October

My Favorite Museum Collection Series
>> My Favorite Museum Collection Series 93: My Favorite Altar Pieces at Mariahilferkirche, Graz
<< My Favorite Museum Collection Series 91: My Favorite Paintings at Neue Galerie, Graz, Austria

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Monday, September 1, 2014

Texas State Capitol in Austin

One of the hard to miss landmarks in Austin was the domed neoclassical structure of the Texas State Capitol, which can be seen as far as from the Blanton Museum of Art at University of Texas.  The Texas Capitol site informed us that
The Texas Capitol is an extraordinary example of late 19th century public architecture and is widely recognized as one of the nation's most distinguished state capitols. It was placed on the National Register of Historic Places in 1970 and designated a National Historic Landmark in 1986 for its "significant contribution to American history.

The 1888 Texas Capitol is the largest in gross square footage of all state capitols and is second in total size only to the National Capitol in Washington, D.C. Like several other state capitols, the 1888 Texas Capitol surpasses the National Capitol in height, rising almost 15 feet above its Washington counterpart.
DSCN1025 _ Texas State Capitol, Austin, June 2014

DSCN1070 _ Texas State Capitol, Austin, June 2014

DSCN1026 _ Texas State Capitol, Austin, June 2014 DSCN1027 _ Texas State Capitol, Austin, June 2014

One evening, after a wonderful dinner at Driskill Café, I chanced by the huge compound and learned that I would visit it even at that late hour so I zipped through the ground, stopped by some sculptures briefly, then entered the building, which was guarded only by two policemen each at the front and back entrances.

DSCN0440 _ Texas State Capitol, Austin, June 2014

DSCN0442 _ Texas State Capitol, Austin, June 2014

The exterior of the building was classical, elegant and full of details to admire.

DSCN0446 _ Texas State Capitol, Austin, June 2014

DSCN0453 _ Texas State Capitol, Austin, June 2014 DSCN0451 _ Texas State Capitol, Austin, June 2014

When it grew darker, the brightly lit pale structure glowed against the deep blue night sky.

DSCN0556 - Texas Capitol, Austin Texas - 500

DSCN0550 _ Texas State Capitol, Austin, June 2014

DSCN0544 _ Texas State Capitol, Austin, June 2014 DSCN0539 _ Texas State Capitol, Austin, June 2014
DSCN0545 _ Texas State Capitol, Austin, June 2014 DSCN0544 _ Texas State Capitol, Austin, June 2014
DSCN0443 _ Texas State Capitol, Austin, June 2014 DSCN0448 _ Texas State Capitol, Austin, June 2014
DSCN0552 _ Texas State Capitol, Austin, June 2014 DSCN0553 _ Texas State Capitol, Austin, June 2014

Due to the relative late hour, there were only a handful of visitors and I was able to roam around for most of the time leisurely and had some wonderful sights, such as the dome seen through a translucent ceiling in a long corridor, which led to a delightful little courtyard.

DSCN0517 _ Texas State Capitol, Austin, June 2014 DSCN0514 _ Texas State Capitol, Austin, June 2014

DSCN0513 _ Texas State Capitol, Austin, June 2014

Back to the main part of the building, under the dome, where I saw chambers of Texas State Supreme Court, Appeal Court, Governor's Office, Senate and House Chambers; due to time, security or renovation issues, however, I was only able to tour the quite grandiose House Chamber.

DSCN0487 _ Texas State Capitol, Austin, June 2014 DSCN0465 _ Texas State Capitol, Austin, June 2014

DSCN0466 _ Texas State Capitol, Austin, June 2014

DSCN0474 _ Texas State Capitol, Austin, June 2014

DSCN0469 _ Texas State Capitol, Austin, June 2014

DSCN0478 _ Texas State Capitol, Austin, June 2014

Naturally, one would encounter many important politicians in Texas history or with roots/connections to the state, such as the busts of Lyndon Johnson and George H. W. Bush and the official portrait of former governor Ann Richards:

DSCN0520 _ Texas State Capitol, Austin, June 2014 DSCN0519 _ Texas State Capitol, Austin, June 2014

DSCN0463 _ Texas State Capitol, Austin, June 2014

In the center of the circular space directly below the dome, there was the state seal, above which there were several levels of circular galleries, adorned with official portraits of politicians, including that of Ann Richards, leading all the way up to the soaring yet rather restrained dome.

DSCN0493 _ Texas State Capitol, Austin, June 2014

DSCN0459 _ Texas State Capitol, Austin, June 2014 DSCN0480 _ Texas State Capitol, Austin, June 2014

DSCN0492 _ Texas State Capitol, Austin, June 2014

DSCN0481 - Texas State Capitol - 500

DSCN0460 _ Texas State Capitol, Austin, June 2014

DSCN0502 - Texas State Capitol - 500 DSCN0454 - Texas State Capitol - 500

DSCN0457 - Texas State Capitol - 500



More on Austin, Texas Trip, June 2014

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