Lost in Translation

Globalization is a word that has been around for longer than most people think. Although the origins of the word date back to the late 19th Century, the concept globalization in terms of socio-economic development entered our vernacular in the 1960s.

One can think of the earlier globalization in antiquity as cultures and empires expanded and contracted. Hellenic travels introduced Asian countries to wine, the Silk Road connected East and West, and Christopher Columbus brought the Old World in to the new. Today, living in exponential times, we are faced with perplexing dilemmas. The problems of the future are unknown.

Globalization has also entered the art world. Again, this concept is not new. Puccini's Turandot uses Chinese folklore and traditional sonorities (Orientalism), Dvorak New World is laden with sonorities of Native American melodies, longing for the past with excitement for the future.

I attended the opening of "Your Bright Future: 12 Contemporary Artists form Korea" at the Museum of Fine Arts, Houston. Pictured here is Bahc Yiso's, died in 2004, "Your Bright Future" which themed and named the exhibition. A collection of lamps shining bright light on a white wall, questions the complexity of the excitement of raising stars while juxtaposing a blank wall of nothingness. Is there a future? Is there a bright future? Will it have meaning?

A lecture preceded the opening drinkfest where we learned about the overall concept of Korean state-sponsored art versus the "people." In it, a general commentary of art not necessarily communicating in a one-way direction, but more of an interactive and experiential dialogue. Cultural context was not necessarily needed to participate. Well, of course, this concept is not universal, but I'd argue, impossible to achieve. I do not believe anyone can just eradicate and negate the importance of cultural context. As human beings, we come with histories, contexts, psychological baggage, preset traditions, rebellious tendencies, all which exists within the confines of our own realities.

Billboard art is present in Houston. Whether through the recent works of Karyn Olivier's "Inbound" and now through this exhibit which also extended into this medium. Billboards are interesting. Although their primary function is to broadcast information, noticing "Inbound" is quite strange at first. They are somewhat playful, although some claim surreal, I'd argue the works themselves are not surreal, but the experience and medium are. They represent and mimic exactly what is behind them in an effort to make them disappear.

This exhibit also has some billboards associated with it. Below is one of them. Originally found in Seul Korea, it is now on display facing west overlooking 59 and Rosedale. Here is my dilemma. Upon seeing this, my first reaction: I am of course not the target demographic for this sign. In reality, I am. But unfortunately, it is lost in translation. It actually means we are happy. Given that this was meant for an English speaking country, would it have been appropriate to translate it or to provide a translation? Or is the fact that it is Korean provide us with more information. If so, one cannot take a piece like this outside of its cultural existence.

The concept of globalization is also clear in Do Ho Suh "Fallen Star 1/5". Two cultures collide. A violent crash of a traditional home in Korea with a traditional Rhode Island apartment is a biographical commentary on the artists travels and education. The video does not do justice to the sublime and realistic detail. It's a must see, especially for those of us whose inclination would be to dust off the old Barbie and Ken Doll and play house.

I did not get a chance to spend more time and interact with the work. That will be my intention in the next coming weeks. I encourage you to do the same. More information on the MFAH website.

Coming to Terms with Wagner

On Friday, at the suggestion of many of my friends and colleagues, I made a commitment via ticket purchase to sit through what I thought would be a long winded, self-important, repetitive and overly psychologically dramatic Wagner opera: Lohengrin. Although I have played a couple, played incidental music, and watched a concert version of Tristan and Isolde, my cultural and musical life had not given me the opportunity to watch a full production. I was a Wagnerian virgin.

Gesamtkunstwerk, we learned in school, is a term used by Wagner to describe the complete work of art: one which sythesizes all the art forms to create the ultimate form of deep expression. So playing incidental music or watching the concert version does not give one proper experiential material to assess Wagner.

I have to admit I had pre-programmed prejudices. Coming from a Jewish background, the topic if Wagner's music was treated as taboo. Hitler saw Wagner's music as an embodiment of the new German regime and nationalistic "pure" ideologies. Wagner's music was not performed in the modern state of Israel until 2001 conducted by Daniel Barenboim. Previous attempts to stage productions were halted by protesters.

In his "Jewishness in Music" essay published in 1850 under a pseudonym, Wagner accused composers Felix Mendelssohn and Giacomo Meyerbeer of being harmful and dangerous to German culture. He claimed Germans were repelled by Jew's appearance and were detached completely to the German spirit. As they were only capable of producing shallow and artificial music, its purpose was to be popular and financial rewarding, and devoid of any aesthetic merit.

As I write this, I realize that I use the third person pronoun "they" to describe Jew's above as a way to separate myself from the gross misguided representation by Wagner above. Freud would have a field that with this I am sure.

We studied Wagner in school. Tristan and Isolde is epic as music theorists and musicologists revere the symbology of the Tristan chord due to its tonic ambiguity, it's perplexing sonority and instrumentation, and it's ability to morph. We learned Tristan and Isolde as a long yearning for resolution work as there isn't a resting point, cadence, or tonal resolution until the end, after which it quickly ends. Like sex our professor explained. Orgasm, you are done. My friends and I had our share of cigarettes following the lecture.

So, I purchased a great seat and I did what I usually do not do. Although I usually like to research the work prior to seeing, I refused to and decided to really watch this purely with virgin ears. From the beginning of the overture to the end, I got it. I understood the fascination. I had the epiphany that my professor was attempting to instill in me back at school: a perfect combination of relatable narrative with enough musical and physical symbology to over talk this over gallons of coffee.

Two days later, I am still perplexed by the performance and I haven't even addressed the HGO production. It's a must see if you can catch the last couple of performances before the run ends. Epic is the best way to describe it. Almost like watching a most sublime and relatable story of found and lost love with middle earth and Grail myths mixed in. The music presented additional information not found on stage. Themes were easily recognizable.

I think I am a convert. I am quite willing to explore Wagner. I actually think I may be enroute to liking and accepting my ability to like Wagner. The guilt to do so will have to be worked on over time.

In this video, Elsa (the wrongly accused damsel in distress) summons a rightful stranger she met a while back.

In this scene, Lohengrin (the wonderful rightful stranger) and Elsa (the wrongfully accused damsel in distress) discuss the proclivities of their arrangement. He would defend her honor and marry her if she never asks his origin, name, and lineage. Deliciously romantic.

Cinema Arts: There is a Difference

There is a myriad of arts organizations in Houston. Here is a few cool facts:

• Fourth largest Museum District in the nation
• One of the few cities with major companies in the four disciplines: ballet, opera, symphony, and theater
• 21,000 arts events annually
• The arts supports 14,115 full time jobs in Houston

So when another one is added to our mix, I rejoice in our cities diverse offerings, and get excited at the prospect of learning and being exposed to another range of creative pursuits. Somehow, the addition of a well structured film festival adds yet another badge to our city's diverse offerings: Houston Cinema Arts Society.

The Houston Cinema Arts Society 2009 Cinema Arts Festival Houston offers a wide range of films curated by Richard Herskowitz and goes on until Sunday, November 15th. Click here for the schedule.

Film festivals are sexy. Somehow, I have the perception that people are more open to experimental films than they are about today's art music, visual or performance art. Film enjoys a unique place in that it is usually introduced as popular, then our taste usually develops into the more artistic genres. I took sometime yesterday to preview Houston Cinema Arts Society H BOX. A portable screening room by Portuguese/French architect Faustine Didier Fiuza Faustino, it is currently stationed until the end of the festival on November 15 in the Alabama Theater on Shepherd and Alabama.

The H BOX is beyond cool. A small room with mini bean bags, it plays a rotating diverse offering of shorts ranging from 2 to 14 minutes ranging from quirky, symbolic, to strong commentary on sociopolitical ideologies. A great place to get comfy and chat with those around you. Amidst my favorite ones was a short by Yael Bartana that deals with post WWII Poland economic and social demographic make-up.

Yesterday, I attended their grand opening reception at the Museum of Fine Arts, Houston where we viewed "Me and Orson Welles" by Houston filmmaker Richard Linklater, starring Zac Efron (from High School Musical) amidst an incredible cast of UK artists. Hearing Richard speak really reminds us that there is a very big difference between movies and cinema art. The best line I can remember (not 100% accurate I am sure):

Wealth. Travel. Fame. I can take you to movies that have all that.

Also, Linklater redefines "quadruple space." You know, to enable writers to publish their novels, romantic scenes end with. And they went to bed. Quadruple space.

There are amazing film resources in Houston that allow Houstonians to explore film all year long. Aurora Picture Show has an amazing collection of film, video and media with screenings all year long. SWAMP (South West Alternative Media Project) promotes regional film and video since 1977.

Film is sexy. Art is sexy, and most importantly, supporting local arts organizations is beyond hot. Take part. Be Current.