Almighty painter

Chapter 715: Miss Elena VS Miss Sakai (Part )

The works that had not been seen for a few days were quietly placed on the display stand in front of Anna, bathed in the fill light of the art center, like the sunshine in midsummer.

"EQUAL ACCESS".

It is a professional term in the field of curating, which comes from legal provisions and translates to "equal display opportunities".

It does not mean that artists have equal opportunities to exhibit themselves, that is unrealistic.

No matter how big the exhibition hall is, there is only one C position, or at most a few.

At the award ceremony, it was impossible for a newly debuted young singer to walk the red carpet with Madonna and Whitney Houston.

Well, whether in a museum, gallery, or biennial.

It is also impossible for the works of ordinary painters to be displayed on the core exhibition stand together with those of great artists whose worth are dozens or hundreds of times theirs.

“Equal opportunity to participate” – this statement is directed to all visitors and audiences who come to the art exhibition.

Many countries have laws against discrimination.

In principle, the law requires art exhibition organizers to ensure that visitors who pay the same price for admission, especially those from vulnerable groups, enjoy the same visiting opportunities as other normal visitors as much as possible.

For example, the elderly.

For example, children.

For example... Miss Anna Elena.

Although in terms of wealth or power, Anna has nothing to do with the category of "vulnerable groups".

But from a legal perspective.

People in wheelchairs, whether they are men or women, whether they have a billion euros or barely ten euros in their account, are considered vulnerable on a physical level.

Generally speaking.

When appreciating a work of art, one should either look down from a high vantage point to highlight the work's sense of compression, or look up from the bottom to show the work's grandeur and majesty.

Under normal circumstances, looking at the painting at eye level is the best option.

According to industry practice, the height of the bottom of the "pedestal" of most paintings from the ground is set between 1 meter and 1 meters.

This move allows the center point of a medium-sized 16-by-20-inch oil painting to be almost at eye level for mainstream viewers.

For hunchbacked elderly people, children, short people or disabled people in wheelchairs.

This height is a bit too high.

You need to keep craning your neck to look.

Therefore, the organizing committee of the Singapore Biennale installed a slope 30cm above the ground next to the bases of important exhibits, across an aisle or three or four meters away, so that people in need can walk up the slope to view the exhibits.

Incidentally.

Almost all professional curators receive training in these corresponding curatorial norms, but setting up a ramp is certainly not a mandatory requirement for an exhibition.

It is more than a mandatory requirement.

This isn't even a common practice.

Idealistic legal provisions are one thing, but practical application is another.

There are many different ways to implement the curatorial concept of "EPUAL ACCESS".

So many small slopes have been built into the limited exhibition space of the Esplanade, which does make it more convenient for some people. But it must be said that people with normal legs and feet may not pay attention to their feet and fall flat on their faces.

No matter what.

No matter how big the exhibition is.

Most of the time, organizing committees and sponsors have to acknowledge and accept that "equal exhibition rights" in an absolute sense is a utopian imagination that is difficult to achieve under current conditions, both for participating artists and visiting tourists.

Essentially.

The organizing committee is just making a choice between "which people they want to focus on serving" or "which people they want to serve better".

By setting up the exhibition space in this way, was the curator, Mr. Tonks, trying to please the special group of "people in wheelchairs", or was he trying to make an impression in front of a certain "Miss Editor" in a wheelchair?

This is a matter of personal opinion.

Fortunately.

They are worth it after all.

The shape of the Esplanade is like a lying ladybug. When viewed from the outside, under the yellow light at night, it looks like the two petals of the "Musang King" durian, the national fruit that is produced in great abundance in neighboring Malaysia. Therefore, it is often nicknamed the "Durian Center" by Malaysian tourists.

When curator Tonks heard this nickname, she sighed to the assistant beside her.

"An interesting name. Isn't the work of an artist like this? There are very few painters whose works can make everyone feel its 'beauty'. Those who like it will love it like crazy. Those who don't like it will avoid it as much as possible."

So at this moment, such a rare case occurred.

When visitors turn a corner, they enter the heart of the exhibition.

Their brains immediately started beating small drums in their owners' ears, telling them that a work of art that allowed everyone to easily feel beauty had appeared.

Cat.

A variety of cats.

Old cats, small cats, light grey cats, ginger cats, thin cats, fat cats, cats taking naps, cats singing, cats knitting…

Cats are not durian.

Although they shed hair, do cat boxing, don't like to take baths, and the canned cat food they eat is very expensive.

But when they appear in front of you through the appearance of watercolor.

When you see the group of furry creatures rendered in perfect watercolor strokes, running, chasing, and meowing towards you, as if they want to rub their furry ears against your calves.

Such a scene would make anyone smile subconsciously, right?
Humans domesticated dogs, and cats domesticated humans.

July in Singapore is the end of summer, and when Gu Weijing painted these watercolors, Yangon's long hot season had ended and the second half of the rainy season had officially begun.

On days with unbearable heat, the sky is often overcast, and the clouds will suddenly become one.

The wind chimes in the window corners were spinning.

Raindrops fell along the eaves, drop by drop.

That's probably the reason.

These watercolor paintings have been dry for a long time and are very dry, but they still look moist.

The brushstrokes are as crystal clear as jade.

Under the fill lights of the art exhibition, there is a hazy luster of water vapor.

Even the cats on the drawing paper that had just run across the grass seemed to have their fur stained with the dew around them.

Like a dream.

It's absolutely dreamy.

At the bottom of the booth, there is a joint plaque for London's West End theater and the Biennale.

"Watercolor collection "Cats", from T.S. Eliot's collection of poems "Old Possum's Guide to Practical Cats"

「Specially guest artist: Detective Cat」

Across from the booth, there was a woman sitting in a wheelchair.

The brushstrokes are as crystal clear as jade.

Women are also as crystal clear as jade.

In the afternoon, the sunlight moved away from the high point of the clear sky. It had not yet set, but it no longer seemed so dazzling.

The light pouring in from the metal-shaped windows on the side of the art center has now become jade-colored.

A little bit of coolness in the lingering summer heat.

Miss Elena in the wheelchair was also embedded in this little bit of clear light, with her wrists under her chin. Only the brown button on the cuff of her blue dress reflected the agate-colored light in the sunlight.

Jade-colored person.

Blue dress.

A little glow.

This little bit of light seemed to overwhelm all the exquisite, bold, or lustrous brushstrokes on the artworks in the room in an instant, turning them into a blank piece of paper, making them dull and lifeless.

And in the next moment.

The entire exhibition hall was covered with a similar magical light.

The garden is full of spring scenery.

The garden is full of spring colors.

For many, many tourists, feeling the brilliant and moving beauty from a moment of light is an unprecedented experience.

And on the chest of her dress, there was a light-colored VIP guest card.

"VIP Admission Card to the 7th Singapore International Art Biennale"

"Visual Arts Manager of Oil Painting Magazine: Anna Irena"

The woman in the wheelchair and the painting on the stand across from her have exactly the same qualities.

There is no mysterious art theory or threshold for appreciation.

It's just pure beauty.

It is a beauty that simply makes you feel as if you have been captured by some power.

At first, the tourists were unable to distinguish between the watercolor booth and the woman with her chin supported on the raised ramp opposite the booth.

Which one of them is the "artwork" in the Biennale?

And if you have such a feeling.

Even when I just entered the venue, due to the changing light, I was not careful and tripped over the ups and downs of the slopes in the venue.

perhaps.

Actually, there is nothing to complain about the organizers.

"...Well, it's a very wonderful statement. We just talked about Mr. Sakai's artistic path. You think your father's artistic period before the age of 28 is an accurate period. From the age of 28 to 36, it is considered the period of fame. From the age of 36 to now, his artistic style has gradually matured. We heard that Mr. Sakai's gallery contract this year is about to expire-"

Mr. Sloth's voice came from Miss Elena's headphones.

Because of her personal interest, she created and opened the account "Mr. Sloth's Art Salon" during her college years, and it has been several years to date.

The program has been recorded for more than 150 episodes.

every time.

Anna still finds it a strange experience to hear her own voice of "Mr. Sloth" processed by a voice changer in the headphones.

Very strange.

And...

A little bit of familiarity.

"I've heard some rumors that several large galleries are currently pursuing Mr. Kazunari Sakai's next contract. Gagosian also called your father. Is it convenient to ask if this is true?" Mr. Sloth asked, "If it's not convenient, it's okay. I can cut this question out in post-production."

"Nothing is inconvenient. Gagosian is a very, very good gallery and currently occupies a leading position in the industry. My father was also very excited to receive such an invitation. But..." said Ms. Katsuko Sakai.

Anna pursed her lips.

The difference between family education and social status can be clearly heard at this time. Detective Cat is obviously a small painter from a small place.

Even though there is a layer of anonymous creator's skin between them.

Although "Mr. Sloth's Art Salon" is not a very serious traditional media.

Anna could sense that when the other party participated in the recording of such a public program for the first time, she was still a little nervous.

That show.

Detective Cat performed very well overall.

If you listen carefully, you can still hear some nervous tremors in her voice when she is talking to Director Tonks and herself.

Sometimes, the other person's speech speed will unconsciously increase, but it is fast but not fluent, and there are some small stutters in it.

Anna knows.

These are the immature reactions of those who have never faced the "camera".

It's ok.

Youthful and cute.

Katsuko Sakai and Detective Cat are completely different people.

She is the daughter of a great painter and is obviously used to facing similar scenes since childhood.

The girl spoke in a soft and gentle voice.

The typhoon is extremely stable.

His tone is neither hurried nor slow, and he speaks slowly and leisurely, like the calm ripples in a lake. From time to time, he brings up a small topic, which makes people feel his sincerity. His answers are not overly formulaic, like a spokesperson reading from a script.

Judging from the voice, you wouldn't be able to tell that the other person is only eighteen years old.

She has the bearing of a lady from a noble family.

"I don't know the final conclusion, and maybe my father himself doesn't know either... because he has to listen to my mother." Katsuko Sakai said with a smile.

Say what needs to be said.

Don’t say what you shouldn’t say.

A very tactful and pleasing answer.

"Is your mother the one who makes the decisions in your family?" asked Mr. Sloth.

"No, my father said he was in charge. He was in charge of the big things, and my mother was in charge of the small things. But he also said that nothing big had happened in the family so far."

During the show, Katsuko Sakai seemed to smile.

But in a flash, the smile disappeared.

Anna could hear the fluctuations in Katsuko Sakai's mood, and she also heard that the girl didn't want to continue talking about this topic... Anna didn't record this episode to track Kazunari Sakai's "transfer" changes.

She didn't delve into it.

After a brief silence that was edited out.

In audio.

Mr. Sloth changed the subject without missing a beat.

"Let's talk about this, then."

"Old listeners of Mr. Sloth's Art Salon know that my personal aesthetic taste is very inclined to the painting method that captures the momentary light and shadow, and the momentary emotion. Impressionism is one of my favorite painting genres."

She said.

"Coincidentally, I noticed that not long ago, one of the journals of Asian Art published a paper titled "Carroll, the Female Painter Forgotten by Time: Color Entanglement and Visual Dimensions in Dark-Tone Impressionist Works". It is about the study of early Impressionist painters and has caused a lot of discussion on the Internet. Ms. Sakai, you were deeply involved in the writing process of the paper and are an important creator of it, right?"

“One of the most important creators.”

Katsuko Sakai said: "This paper was written by me and my classmate Gu Weijing from Fitz International Middle School. For the two authors of this paper, I am not the one who contributed the most. The person who is most qualified to answer the debate about this paper should be him."

"It's just that there are some things..."

Shengzi's voice paused slightly.

The following words were omitted again.

She started again: "I saw the discussion about the paper online. We should have answered some of the questions together, but it happened that Gu Weijing might not be very free to deal with these things during this period. So... I think I should stand up."

"Ah."

Mr. Sloth hummed softly.

"Ms. Sakai just mentioned the debate. Some of our audience friends may not know the specific cause and effect of this matter yet. So, let me first briefly introduce to you the general content of the paper mentioned -"

……

“Give me my tablet.”

The Esplanade Theatres.

Anna turned her eyes away from the watercolor collection on the opposite stand and spoke to the housekeeper who was following her.

The housekeeper opened a small handbag, pulled out a MINI tablet computer and handed it to the woman.

"Let's talk about the discovery of the painting "Old Church on a Thunderstorm" mentioned in the paper." Mr. Sloth asked in the headset.

"According to Ms. Sakai, this work was discovered by Gu Weijing at a calligraphy and painting auction at the beginning of the year. From what I understand, it was a place similar to an art pawnshop. Is that right? He only spent a small amount of money on it."

"That's generally true. It's probably more like a flea market than a pawn shop," Sakai Katsuko replied. "And in a place like that, thousands of dollars is a very, very large sum of money—"

Amid the conversation coming from the headphones, Anna opened her tablet and pulled up a few photos from the album.

Ten days' time.

From Gu Weijing's perspective, he just flew from Yangon to Singapore.

Money can make the world go round.

With the power that Miss Elena holds in her hands, there are so many things she can do.

For safety and other reasons, Anna followed the housekeeper's advice and went to the scene of the old church described by Carroll without seeing the paper first.

She still collected a lot of relevant information.

There are the contents of email communications between the paper editor of the "Asian Art" journal office and Katsuko Sakai and Weijing Gu, as well as the original version of the paper submission.

There are old photographs from as many years as could be found of the old church.

She even privately investigated the identity of the writer of the missionary diary mentioned in the other party's paper as evidence for determining the creation date of the painting.

Is the missionary diary from a hundred years ago a reliable source?

Gu Weijing had no way to investigate.

Katsuko Sakai had no other options.

But Anna did.

It needs to go through the church, but the problem is that traditional Catholic nobles like the Elena family and Protestant priests do not follow the same path.

She still contacted an old Duke in the UK and made a private request, asking him to visit the Archbishop of Canterbury and ask if he could send her a copy of the list of missionaries sent by the Church of England to British India between 1860 and 1900.

Even to the point of——

Anna also noticed what happened to Brother Hao.

"Can people really defy fate? Become the Prometheus of the world. You will watch me, right, Mr. G?"

The audio program in the headphones is still playing.

The woman's finger paused for a moment on a photo on the tablet.

Picasso's famous painting "Bust of a Woman".

Picasso painted many "Busts of Women" throughout his life, and Irene's family's collection includes one of them.

There was another one on the screen.

It has been more than 20 years since it last appeared in the public eye.

Anna bowed her head.

She leaned back against the chair and stared at the picture on the screen.

Far away in the distance, the sea water crashed against the breakwater, making a slightly crisp sound, like the call of a bird that reached her eardrums.

Miss Elena didn't know if what she heard was the sound of the sea.

perhaps.

That is really the sound of birds calling.

"I sat on the top of the mountain, sitting here and creating mankind in my own image, making this race the same as me, to suffer and cry, to rejoice and be happy. And like me... I despise you."

Anna stared at the eyes of the woman in the painting, and at the words written there with a marker brush, and recited softly.

This is from Goethe's poem.

Some modern scholars believe that Goethe and Byron are the two greatest poets in the entire history of Western literature. They are also like two different geniuses who are opposed to each other. The opposition is not between good and bad, but in character.

Give an inappropriate example.

Goethe and Byron.

Just like the "cat party" and the "dog party" are completely different.

No doubt about it.

Anna was a staunch "Byronist", not that she disliked Goethe that much, in her own words.

"Reading Goethe is a hobby, but I don't like him. Reading Byron is even better, but... I don't need to read Byron."

“Byron lives in his blood.”

Anna liked Byron's enthusiasm, passion and rebellion. His family was a hereditary aristocratic family for six generations. He was born in a large manor, went to Harrow Boys' School for secondary school, and went to Cambridge University. After graduating from university, he was arranged by his family to serve as a member of the House of Lords.

He should have had a smooth life, surrounded by servants.

But he became a famous traitor among the British aristocracy and a rebel against the ruling class.

Byron is a disabled person.

He was born with a lame foot and was a cripple, but he was keen on shooting, hunting, riding, fencing, boxing and poetry.

He was born the sixth Lord Byron.

But the sixth Lord Byron was disgusted with wine, beauties, and everything in the social circle. He realized that there was another, braver path to choose in life.

So His Excellency Lord VI decided to fight the Vienna Parliament to the end.

He died in the cold wind and rain of Greece.

In comparison.

Goethe is rather lacking in aesthetic sense.

He is a genius and he has known Mozart since he was a child, but his family conditions cannot be compared with those of Mozart, a young genius whose father is a top artist, and he is even less comparable to Lord Byron.

At most, his family background could be considered that of an ordinary wealthy citizen, but he also had a father who loved art.

His artistic accomplishment since childhood also came from his father's home lessons.

(End of this chapter)