A Journey Through England

As travel restrictions have eased over the past 12 months, I’ve been taking advantage of the opportunity to visit family and friends overseas.

Late last year, I spent a month in the UK, and it was a trip of very mixed experiences. It was the first time I had been back in nearly 4 years, the longest period of time I have ever been away from the country of my birth.

It’s nearly 30 years since I left London to live and work abroad, and even though I am still “from” the UK, I don’t really consider myself to be “of” it. Despite family ties and social links, with each visit back I feel less and less connected to the place. As a result, I tend to experience my time there as a visitor, rather than a returning expat.

This sense of dislocation has become especially evident since Brexit, and the quagmire that is UK domestic politics. Not only does the political environment feel quite alienating, the profile of the political leadership is almost unrecognisable: last time I was back, Theresa May was still Prime Minister; when I arrived in early November, Rishi Sunak was in the second week of his Premiership.

Luckily, the rolling programme of public sector strikes and other industrial unrest had limited impact on my own travel schedule, even though it has become almost impossible to plan train journeys too far ahead thanks to unreliable timetables and complex booking systems. Fortunately, the grocery shortages evident during the UK winter had yet to take hold, and before I left Australia, I had managed to lock in a favourable exchange rate to offset the effect of inflation.

I spent most of the time in the Peak District, but also visited Manchester, Sheffield, Milton Keynes, London and Kent – a north-west to south-east trajectory. The Dark Peak was my base, and I really appreciate the scenery in and around the town of Glossop, where I stayed – but for a town that used to boast one of the highest number of pubs per capita, quite a few local hostelries were only open from Thursday to Sunday, probably a consequence of Covid, energy costs and broader inflation?

Manchester itself was a dispiriting experience – the city centre (Piccadilly Gardens) resembled a zombie theme park, and there was a palpable sense of anger and an all-pervading threat of violence in the air. Maybe I was there on a bad day, but the overall mood was definitely “off”. By contrast, Sheffield city centre, which I’d not visited since the early 1990s, felt welcoming and had a much more positive vibe.

I have to admit to being pleasantly surprised by my weekend in Milton Keynes. Its reputation, as a planned New Town, for being soulless and devoid of personality is probably undeserved. Yes, it helps if you know how to navigate the network of roundabouts and ring roads (anyone familiar with Canberra would have sense of déjà vu), but I can definitely see the attraction, especially for families, with its acres of space and many recreational activities. If necessary, it’s possible to commute to London, plus there are nearby country parks and village pubs to frequent on the weekends.

Despite my familiarity with the geography and fabric of London, I now see it through the eyes of a tourist. Even though the overall layout remains the same, the constant changes in the built landscape can disorient the infrequent visitor. Because I no longer rely on it every day for work, I actually think London’s public transport has improved, but I’m sure it would only take a strike on the underground, or the wrong type of leaves on the train tracks at Clapham Junction to disabuse me of this situation. While London has always existed in an economic bubble in relation to the rest of the country, it probably wouldn’t take much to undermine the city’s renewed self-confidence as it tries to navigate a post-Brexit role in international banking, finance, trade and commerce.

Judging by a financial services conference I attended, compared to the same conference 4 years ago, there was a lot more focus on regulation as the UK (and the City in particular) disentangles itself from the EU – and as in many other areas, there is confusion about the transition process: understanding which rules continue unaffected; the scope and impact of any interim arrangements; and the anticipation of totally new measures yet to come into force.

Of course, the worst of petty British bureaucracy probably doesn’t even need the headache of Brexit to tie itself in knots. One small example I witnessed: in a country pub, I was told at the bar that I could not be served soy milk with my tea, and that the barman risked losing his license if he complied with my request – but oat milk was OK; and bizarrely, dishes that contained soy and served in the pub restaurant were also available. Go figure. I still can’t work out whether this was a quirk of local licensing laws, a capricious whim of the hotelier, or just a cranky member of staff.

My final port of call was the outer London suburbia of north-west Kent. Close enough to the London bubble to be popular with commuters, it’s also where I spent much of my childhood and teenage years. I wouldn’t say that familiarity breeds contempt, but it gets increasingly hard to feel any nostalgia for the place. Whenever I go back, it naturally feels much smaller (physically, socially, culturally) than when I was growing up there. Fortunately, when I caught up with a bunch of high school friends (all of whom have long since moved away from the area), there was a “very comfortable familiarity”, as one of our group described it afterwards: “not overly nostalgic but warm and generous. It’s the kind of thing I might have disdained when younger but I really enjoy it.” There speaks the wisdom of age(ing).

There’s no doubt a great deal I should be grateful for having been born in the UK, and probably a lot more that I take for granted as a result when I am there: walks in the country, spending some quality time with close family, good pub meals, excellent art exhibitions, even the inter-city train journeys through “England’s green and pleasant land” (no irony intended). All of which make the many varied and minor disappointments even harder to accept – I somehow expect better of the place, even after all this time away.

Next week: Hong Kong – Then and Now

 

Renzo Piano & the Centro Botín

In March this year, the Victorian Government unveiled the winning concept design for the NGV Contemporary, a new centre for art and design, forming part of the planned revamp of the Arts Precinct on Melbourne’s Southbank. Due to open in 2028, The Fox: NGV Contemporary (to give it’s full name, thanks to the benevolence of trucking magnate and close acquaintance of Premier Daniel Andrews, Lindsay Fox) is being heralded as an iconic, nation-defining statement in support of Melbourne’s claim to be the cultural centre of Australia. So far, so good – but I can’t help feeling the design competition has been conducted with some undue haste: Expressions of Interest were sought in March 2021, with a one-week registration deadline. The competition for Stage One of the project closed in August 2021, and Stage Two in November 2021, with the winning team announced in March 2022, barely 12 months from the EOI. Why the hurry (especially as Melbourne was in lockdown for much of that time), and up to now, there does not appear to have been any public consultation in the design process.

The Centro Botín, Santander, designed by Renzo Piano (image sourced from Wikimedia)

Contrast this with the design of the Centro Botín in Santander, Spain, by Italian architect Renzo Piano, whose story is told in an absorbing documentary, “Renzo Piano: The Architect of Light”. First, neither the architect nor the sponsoring Botín Foundation had any aspirations of creating an “iconic building”; instead, the goal was to have as minimal physical impact as possible, while reclaiming an area of land and returning it to public use. Second, there was a public consultation process, to overcome concerns expressed by some nearby residents. Third, while the documentary has no doubt been artfully edited, it does provide extensive “behind the scenes” access to the design and construction process over its 7-year development, which included a 3-year delay in completion. The fact that this was a private commission rather than a competition may account for this approach, but there was still a great deal of negotiation with municipal and community stakeholders.

The documentary itself is notable not only for the degree of transparency (we observe meetings between architect, client and project managers throughout the process), but also for the simplicity of its narrative, and the wise decision to dispense with any voiceover commentary – the subjects are allowed to speak for themselves. There are also references to cultural icons such as novelist Italo Calvino and film-maker Roberto Rossellini. The use of Mahler’s ‘Symphony No. 5’ in the soundtrack underlines Renzo Piano’s fascination with light as a construction material, as important to him as glass, concrete and steel – the music is most famously associated with the film of ‘Death in Venice’, a city renowned for its light.

If the primary inspiration for the design of the Centro Botín is light (and lightness of construction), I’m struggling, based on the available evidence, to see what the inspiration is for the NGV Contemporary. Despite being a statement about “art and design”, I fear that this project is as much about political statements and lasting personal legacies. Much has been made about the potential job creation during its construction, but much less about the design principles and aesthetic objectives. I hope this project does not turn into a municipal white elephant.

The original NGV (now referred to as NGV International) is a landmark building and one of the most popular destinations in Melbourne. I have known it most of my life, having first visited it aged 10, when it left an indelible impression on me. Having lived in Melbourne the past 20 years, I have been a regular visitor since it was extensively refurbished in 2003. As part of the Arts Precinct, the NGV is a focal point for the city’s cultural activities, and is a major draw card for local and international visitors. Any enhancement of the NGV and the surrounding facilities is generally to be welcomed, and certainly there are parts of the precinct that could do with upgrading. However, I’m not sure the design for the NGV Contemporary is the right decision.

Aside from the hastiness shown by the NGV Contemporary’s design phase, I’m surprised that the winning design team, Angelo Candalepas and Associates, do not appear to have built any comparable projects, despite winning multiple awards for their past work. The Candalepas studio has designed many residential buildings (and I lived very happily in one of their first competition successes, ‘The Point’ in Sydney’s inner city suburb of Pyrmont), but as far as I can see, nothing on the scale, significance or importance as NGV Contemporary. The proposed design looks very “blocky”, notwithstanding the internal “spherical hall”, which is highly reminiscent of New York’s Guggenheim Museum. It’s also not clear what the spacial relationship will be with the existing NGV and other neighbouring buildings, nor whether any of them will need to be remodelled or demolished to make way for this latest addition. I’ve tried, without success, to find a map or ground plan of the proposed development, or any details on how the NGV Contemporary will be accessed from adjacent streets, other than via a new garden that appears to envelop the NGV International – so what existing land will this garden occupy, and what current facilities might be lost in the process?

In conclusion, since its opening in 2017, the Centro Botín appears to have been enthusiastically embraced by the residents of Santander, and manages to be both utterly modern and easily accessible, unlike so many other examples of “statement” architecture. I hope we will see a similar outcome for NGV Contemporary.

Next week: Mopping up after the LNP

RONE in Geelong

Public art galleries need to attract paying customers if their funding derived from government grants is being cut. To pull in the punters, galleries have to resort to “blockbuster” exhibitions. In these uncertain, post lock-down times, the lack of international tourists means that galleries are forced to focus on local audiences. It’s good to showcase local talent in the shape of conquering heroes returning to their roots.

These may have been some of the arguments behind the Geelong Art Gallery‘s decision to mount a retrospective exhibition featuring the work of street artist Tryone Power (aka RONE). Of course, the planning began long before COVID struck, but otherwise the above assumptions would seem to be valid.

Let’s acknowledge the positives of this show: First, it is certainly pulling in the punters, and helping to bring in visitors and their wallets to the town. Second, it is hopefully creating a platform for future exhibitions, and public engagement with the Gallery itself. Third, it’s nice that a locally-born artist is being recognised (even if he has had to travel afar to make a name for himself at home).

Unfortunately, that’s where it ends, for me. My recent visit was probably the shortest time I have spent in an exhibition which I had paid to see. Overall, I found the work vapid – there was nothing of substance (nor anything challenging) underneath the painted surface, or behind the concept of “beauty and decay”. As a street artist, RONE does not have the wit or depth of a Banksy; as a conceptual/installation artist, he’s no Christo. The main images he creates or imposes on his work are highly stylised and extremely idealised portraits of young women – it’s a very limited exploration of “beauty”. At best, the work reveal something interesting about abandoned and overlooked locations. At worst, the installation reeked of interior decor magazines and displayed a taste for romanticised and sentimental kitsch.

Which is all a great shame, because given RONE’s apparent interest in deserted and decaying structures, there is a deep and rich vein of Australian Gothic he could have tapped into. (In comparison, think of the work of Nick Cave, Peter Weir, Peter Carey, Julia deVille, Rosalie Ham, etc.)

Despite the use of physical objects, this exhibition felt very one-dimensional. Artists as disparate as Helen Chadwick, Paola Rego, Cindy Sherman and Rachel Whiteread have all deployed notions of female beauty, decay, abandonment and destruction to far greater effect and impact.

Next week: Intersekt FinTech Pitch Night

The lighter side of #Rona19

After several weeks of lockdown during #Rona19, and despite the serious challenges that we still face from the Pandemic and its consequences, it’s typical of the human condition and our spirit of resilience that people have managed to find humour and goodwill in the depths of despair.

In no particular order (and without any judgement) here are just some of the distractions and interactions that have been keeping us amused during social isolation, as well as a few of the apparent positive effects:

  • The video conference call bloopers (memo to team: pants on)
  • Clips of dogs vs cats navigating home-made obstacle courses
  • #MeAt20 flashbacks
  • Elderly family members accidentally gatecrashing Houseparty online drinks
  • Some introvert pupils actually enjoying schooling from home
  • Clients and suppliers displaying genuine concern for each others’ welfare in e-mails and on calls (I just hope this empathy endures beyond the Pandemic)
  • People reducing food waste (less shopping, less fussy about use-by dates)
  • Homemade videos and photos recreating scenes from famous movies and artwork 
  • More wildlife in urban areas (I’ve also seen more birds, bugs, bees, butterflies and beetles in my back yard and in nearby parks)
  • Public libraries of iconic images for use as video call backdrops (conference calls will never be dull again…)
  • An apparent drop in traditional crime rates, and fewer typical hospital casualties (people not going out getting drunk, getting into fights or overdosing)
  • Hosting virtual dinner parties (no need to organise a taxi home)
  • Many homes now have a “clearance corner” awaiting charity shops reopening (all that time to sort out cupboards and drawers)
  • A visible reduction in air pollution (as evidenced by before/after photos from various cities)

Next week: Startupbootcamp’s Virtual Demo Day