Making art from awkward moments

by Amar Patel in


Have you seen any of Pilvi Takala’s work? On Discomfort, her largest solo exhibition to date, is reaching the end of its run at Goldsmiths CCA and it’s one of the most thought-provoking yet amusing afternoons I have spent in a gallery or museum.

One reason is that I am forever curious about human nature, and to what extent we do or don't get on with one another. The latter is often for silly reasons. Another appealing aspect is that so much of the social interaction she investigates is face-to-face, which I rarely see in art practice these days. At least in the institutions I have visited.

Takala uses camera footage (as well as text message conversations and other recorded exchanges) in her experiments to take us into specific environments. Each with their own codes of conduct and unwritten rules of engagement.

Then, in a process akin to what sociologists call “breaching”, she bends and breaks those rules to test their validity, and “to touch the grey areas between the rules” as she explained in an interview for Prix de Rome in 2011.

What is normal? What’s not acceptable? What are the benefits of conformity and the consequences of dissent? How do people (re)negotiate these unusual situations that the Finnish artist has created by pushing the boundaries (sometimes a risk to her own personal safety)?

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Amar Patel

Jet set

by Amar Patel in


As a kid, I used to collect ring-pulls from Pepsi cans to exchange for prizes like a pocket radio. Then harass customers in the shop for their silver foils from cigarette packets, which bought me silver-played wine goblets im my decadent days of youth. So it was easy to sympathise with go-getter John Leonard, the key protagonist of Netflix docuseries Pepsi, Where’s My Jet?

In the mid-Nineties, Leonard was a 21-year-old business student from Washington State who watched a TV ad for Pepsi Stuff (a major new campaign to challenge market leaders Coke featuring anyone from Cindy Crawford to John Lee Hooker) and saw a massive opportunity.

He took the image of a $23m Harrier jet with 7,000,000 points beneath it as a legitimate offer, which he duly accepted and devised a clever strategy to collect on with the help of successful investor and climbing buddy Todd Hoffman.

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Amar Patel

A few words on kindness

by Amar Patel in ,


Candlestick Press has produced several gorgeous poetry anthologies since 2008. Pamphlets designed to be gifted, carried around and cherished for years to come. For always-emerging writers like myself, their themed callouts are great opportunities to gain experience and build confidence.

One of the most recent ones was “kindness”. Although my entry wasn’t selected, I was pleased by how I worked with the constraints of the competition – no more than 16 lines of 10 words at most – while injecting a spritely rhythm along the way. It’s my hop, skip and jump of an appeal to the world. Pass it on…

You can buy the collection here.

Mary & Elizabeth (1929) by Käthe Kollwitz. To learn more about his extraordinary artist, click on the image and listen to Katy Hessel in conversation with Dorothy Price, a specialist in German Expressionism, Weimar Culture and Black British Art

DON’T TAKE MY KINDNESS FOR WEAKNESS (SHE SAID)

 

Or I’ll close up and turn away, all ruthless instead

 

Ever watched frowns become smiles, light piercing the shutter

 

Give thought to another, you’ll make their heart flutter

 

It matters, you know, doing something for nothing

 

What you can, when you can, forget who’s deserving

 

Make the tea or coffee, do someone a favour

 

Hold the door open, flatter a stranger … I dare ya

 

Offer a smile for no reason

 

Bring in the season of less getting even

 

It’s like living by giving till the giving is receiving

 

Start a chain reaction – ka-boom! – seeing is believing

 

Kindness is the currency that never loses its value

 

Can’t afford to spend it? You can’t afford not to!

 

This gift is best shared right out of the blue

 

See good in others? Now there’s good in you too



Amar Patel

Mo money, no problems?

by Amar Patel in


As neither a father nor a spouse, I was curious about what drew me to Fleishman is in Trouble not once but twice. The Hulu Original was adapted from a novel by Taffy Brodesser-Akner, whose NYT profiles of stars such as Val Kilmer have become the effusive gold standard. It appears to centre on pious Dr Toby Fleishman (Jesse Eisenberg) who is struggling to deal with his divorce from Rachel (Claire Danes), a status-obsessed, workaholic talent agent. 

They were a financially secure couple ensconced in a Manhattan milieu where everyone's trying to outdo their 'friends' and compete for the title of most unlikeable or obnoxious. Now Rachel's taken off somewhere (not alone), leaving the kids with Toby who's been tearing through the dating apps like a horny college kid fresh onto campus.

Without giving the game away, and to our surprise having mounted a pile of ill will towards a bad mother, he's not the only Fleishman in trouble. 

Meanwhile, we also meet Toby's college friends Libby (Lizzy Caplan) a housewife who feels unfulfilled as a writer and trapped in suburbia, and eternal bachelor Seth (Adam Brody) who's wiser than he looks and realises he needs to grow up.

Seth (Adam Brody) and Libby (Lizzy Caplan) meet Toby’s (Jesse Eisenberg) new dog

It's easy to reduce this show to tedious self-pitying and coveting by a bunch of self-absorbed rich people. It's like, how much is enough? Do you know the meaning of the word "gratitude"? Do you realise you are the chief architects of your own apparent misery? Lighten up. Let go.

And Lord knows, it's open season on the wealthy as The Menu, The White Lotus, Succession and Triangle of Sadness give us endless opportunities to mock them and relish their downfall. But watch long enough and you realise that privilege does not insulate you from unshakeable feelings of inadequacy and insecurity. They've just got bigger, better treadmills and unattainable goals. Turns out, rich people also do irrational very well. 

The show has a wider sphere of relevance than you realise. Fleishman is in Trouble deftly ponders ageing, the uninhibited and life’s-to-be-written wonder of youth, living with the choices we make and trying to navigate diverging paths in relationships. In the case of Rachel and Libby in particular, it's about dealing with exhaustion with oneself. I found it a useful exercise in empathy, how to see a particular situation from a different perspective, something series creator Brodesser-Akner is acutely aware of as an experienced interviewer. 

The cast really makes us confront their characters, whether provoking sympathy, frustration or revulsion. Eisenberg does awkward and neurotic very well (once again) – he's annoying in a good way. While Danes gets a chance to really stretch out across the series and show her emotional range. Head over to Disney+ and give it/them a chance. Your patience will be rewarded.

I will leave you with this obvious but necessary truth bomb from Rachel Connolly in The Slate: “We will all die, someday. And everyone is getting older all the time. It can feel like there are rules about how you are supposed to spend your time and money, but there aren’t. Only choices, which you can make, or not make. Money can make some practical things easier. But ‘two-nannies-and-a-chauffeur, spring-break-in-St.-Barts’ money isn’t really doing that anymore, is it?”



Amar Patel

Lift-off

by Amar Patel in


A short story I wrote during one of the recent mentoring sessions with the Ministry of Stories and finished off later. The kids at Morpeth Secondary School in East London were working on their own story based in a world they had imagined together. It’s only fair that the mentors also put pen to paper. I went somewhere completely different.

Artwork generated using DALL-E and the prompt “Figurative painting of an elderly dark-skinned man flying on a wheelchair with a fire extinguisher attached to the back of it.” Or a variation of that.

Dedicated to any elders who spend far too much time in and out of the hospital and long for adventure.

***

Monty glanced at his bashed-up watch and thought … it’s now or never. No one had patrolled the corridor for at least an hour.

Even a forgetful old codger like him could tell by the pause in flat-footed steps that would echo day and night. Thuds so loud, it was as if they were made by ogres … with the toxic breath to match.

“Monty, you can do this,” he told himself, all in a dither. “Think about all those nasty things they say under their breath – waste of space, always complaining, someone put him out of his misery.”

He remembered their scolding stares, like hot pokers through the soul. The sludge they would dish out and throw in front of him, rancid and lukewarm.

This was no way for a weary pensioner to be spending his golden years, confined to this decrepit hope-drain of a ward somewhere in the barren underworld of Forelornmore. The place where they put most wrinklies out to wilt until they decompose like neglected plants.

His beloved Amina, by Monty’s side for half his life, always said, “When the time comes to go it alone, always remember how we used to throw caution to the wind. Roll the fluffy dice. Pull a sharp handbrake turn left. Suck in a big ol’gust of chance.

“Your body may not be willing, but show that body who’s boss. Promise me you won’t waste away in some dungeon like a geriatric who spends their days killing time and agonising about their health. Television on only for background noise. ‘We’ll see how it goes’ being your stock answer to everything. But it never does.”

That was the crux of it. Monty used to be one of those folk. It was Amina who changed everything, shaking up his bag of bones and helping him to find newfound awe in unexpected places. A walk in the park, a lucky dip in the market, a wrong turn on the way home.

Now look at him, stirring sludge in his rusty wheelchair. Confined to it. And popping pills he didn’t even need.

He closed his eyes and began to sift through his memories, trying to find the best of himself to feed on, as if to summon the person he needed to be once again.

Just then, a great force began to swell from his temples and along his spine, coursing and meandering down to his fingers and toes.

It felt like the most peculiar migraine, sensational and overwhelming in a good way. And like that, Monty began to make a run for it. Well, more of a stop-start roll but he soon built up momentum.

Suddenly, a door swung open at the other end of the corridor. He pulled up and shuddered. Monty recognised that sound. It was the unmistakable stomp of the nightwatchman Mr Astley – “Ghastly” to all the ‘inmates’.

He carried this ridiculously enormous truncheon and smelled of raw onion soup with flakes of mould. Catch a whiff of him and you’ll lose a year, they would say.

Monty began to panic. “What now?”, the ominous dooof-dooof getting louder and louder. Glancing to his left, he spotted a fire extinguisher hanging on the wall.

Without a thought of what could go wrong, which felt so refreshing, he clipped it on his wheelchair and squeezed hard like he was engaging a turbo boost on a racing car, only with a little more mess to clean up.

No … imagine something even bigger. It was like he was engaging thrusters on a rocket. Wheels quickly became surplus to requirements.

“How do you steer this thing?” Monty hadn’t a clue. As it happened, he was heading straight for Ghastly like a stench-seeking missile. The chief ogre snarled, smoke bellowing out of his nostrils as he advanced, undeterred.

Monty rose above him right before impact, scorching a perfect runway through his pathetic excuse for a haircut and blasting open the doors just beyond.

He soared and soared, clipping onto the wing of an airplane bound for who knows where. This mad turn of events would have been quite distressing if they weren’t so exhilarating.

Monty had this giddy smile on his face, broader than it had ever been. His body still tingling like nothing could harm him.

Thoughts of sunny beaches and far-flung islands crossed his mind. Would he make it? Could be survive? It didn’t matter. Forelornmore was squarely in the rear-view mirror now and the future gleamed with possibility for the first time in a long time.

He slipped on his old cash and carry sunglasses, sucked in a big ol’gust of chance and thought, ‘Let’s see how it goes, eh.”



Amar Patel