Artist Janet Cardiff’s “The Forty Part Motet,” a musical sanctuary for the soul, at Fort Mason Center’s new Gallery 308
There are several spine-tingling moments in the 16th century court composer Thomas Tallis’ devotional choral work “Spem in Alium” which expresses man’s hope and trust in the Lord. Canadian sound artist Janet Cardiff’s immersive sound installation, “The Forty Part Motet,” quite literally teases them out. Forty speakers on six-foot tall stands are arranged in an oval. Visitors can walk throughout the installation and hear the individual unaccompanied voices─bass, baritone, alto, tenor and child soprano─one part per loudspeaker─ of 40 choir singers, who were recorded in England’s Salisbury Cathedral as well as the melded symphony of choral sounds, altogether creating a transcendent experience.
Last Thursday, installation was unveiled at Fort Mason Center’s new Gallery 308, making it the space’s inaugural exhibition and first time the installation has been shown in California. Cardiff’s exquisite layering of the voices creates a profound and intimate experience even within a public space. I can’t recall the last time I slowed down enough to be still and quiet for any significant length of time. As I took in the music, the hairs rose on my arms and tears welled. I stayed for four playings. ( The 14-minute piece is a continuous audio loop, comprised of 11 minutes of singing and a three minute interlude.) With the horror that unfolded in Paris over the weekend and uncertainty about what might follow, and the march of the pending holidays, centering oneself in this immersive musical experience is nurturing and healing. I can’t wait to go back.
Cardiff’s contemporary re-working of this classic was created 14 years ago, in 2001 and the piece has since travelled the world. Cardiff originally studied photography and print-making before experimenting with sound and moving image. She grabbed the attention of the art world in the mid-1990s with her site-specific works which explored the sculptural and physical attributes of sound and often had actual physical impacts on the viewers. Born in Canada, she currently lives in rural British Columbia, and works in collaboration with her husband and partner, George Bures Miller. Cardiff and Miller’s pivotal moment came in 2001, when they represented Canada at the 49th Venice Biennale and won the Biennale’s Premio Prize and Benesse Prize. Their artwork was “Paradise Institute” which recreated a 16 seat movie theatre and entangled viewers so that they became witnesses to a possible crime playing out on screen and within the audience─an idea that was cutting edge at the time. The couple’s work has been included top-tier exhibitions and biennales ever since. Recently, they participated in Soundscapes at London’s National Gallery, the 19th Biennale of Sydney in 2014, and dOCUMENTA (13).
“The Forty Part Motet’s” appearance in San Francisco marks a pivotal time for its two co-presentors─Fort Mason Center and SFMOMA (San Francisco Museum of Modern Art). It marks a new beginning for Gallery 308, which is a gorgeous light-filled 4,000 square-foot gallery space with views of the San Francisco Bay and the Marin neighborhood. The space originally housed Fort Mason’s maritime trade and repair shops and its three-year renovation was undertaken by Jensen Architects, the creators of SFMOMA’s acclaimed roof-top garden.
“Fort Mason Center has been around for 40 years and it’s been viewed as a rental space,” said Mark Tao, CFO, Fort Mason Center. “We’ve gone through a re-imaging process to put contemporary art at the forefront. Gallery 308 was once ‘military building 308,’ so we’ve reclaiming something from the past in our name which fits our industrial chic look. We worked for over two years to bring this work here and we’re very proud.”
Other changes are in the air at Fort Mason Center too. The San Francisco Art Institute, which currently has campuses in Russian Hill and Dogpatch, is moving to Pier 2 and will start construction there next year. FLAX art and design store recently opened a 5,000-square-foot store in Building D, after losing their space downtown.
Cardiff’s installation marks the grand finale for SFMOMA’s On the Go programming—the museum’s dynamic off-site art events while its building is closed for expansion construction. (Click here to read about SFMOMA’s 2013 collaboration with the Sonoma County Museum.) The new SFMOMA will open in spring 2016. Cardiff’s installation is actually on loan from Napa collectors Pamela and Richard Kramlich’s world-renowned holdings of video and media art. Rudolf Frieling, curator of media arts at SFMOMA was pivotal in orchestrating the loan.
Cardiff’s solo works have long been a part of SFMOMA’s collection and the museum additionally commissioned two audio and video works by Cardiff: Chiaroscuro 1 (1997), made for the exhibition Present Tense: Nine Artists in the Nineties; and The Telephone Call (2001), featured in 010101: Art in Technological Times.
ARThound chats with Janet Cardiff and George Miller
I had a chance to chat privately with Janet Cardiff just before Thursday’s press preview and with her husband/collaborator George Miller in the gallery while the work was playing. Here’s our conversation─
You’ve installed this work in so many spaces now, from those that are overtly spiritual to those that much more secular; what is special about this space here in San Francisco, set against the backdrop of the Bay?
Janet Cardiff─What first and foremost matters to me is the acoustics of the space, how the voices sound to me in the space and it works quite nicely here. The visual is beautiful but the power is in the sound. I like this space because, when you’re looking out, the music serves as a backdrop, like a filmic score of the city and the water. I also like the roughness of the space, its rawness that echoes what it used to be. Because it’s painted white, it’s also very pristine, very contemplative which works with the spirituality of the piece, its whiteness and a light
Is this a spiritual artwork?
Janet Cardiff─Oh yes, Thomas Tallis most definitely wrote this for that purpose with words like “I put all my faith in you, my Lord.” When he was writing, he was very aware of the voices going up into the cathedrals like angel voices. It’s inspired me in many ways, on many levels. I’ve learned so much about absence and presence. Every single speaker is an individual recording of a singer, so each speaker in the space becomes that person. The choir was recorded singing together in a room but the singers were spaced apart and every singer had a microphone. So, it does become very anthropomorphic and a virtual representation of those people. It’s like these people, too, are stopped in time. This setting brings me right back to PS1, its first showing, with these windows overlooking the city. I was reminded of the potency of music to move you and of such a brilliant composition from Thomas Tallis which creates such an emotional release for people. Also, the whiteness of the space adds to the spiritual quality of the piece.
Do you have a particular interest in old music? How was this particular piece brought to your attention?
Janet Cardiff─I was recording in England and one of the singers I was working with gave me a cd of Tallis because she recognized that I liked three-dimensional sound. And that always been an interest of mine, this idea that sound is an invisible media but, at the same time, it affects you emotionally, actually going into your body in a way that something visual can’t. It’s also fascinating that you also aware of it subconsciously in a sculptural way….I immediately saw this as all around me and became so fascinated with the piece. With a lot of finesse, expertise and hard work and with the help of my husband and my producer in England, we were able to record it with the Salsbury Cathedral choir, who were not all professionals. I wanted to work with children for the soprano voices. We brought in singers from all over England for a recording session that was very intense. We had about three hours of recording material and edited it down to the price it is today. I found it very interesting, from the very beginning, to make this virtual choir of a piece from the 1500’s. I knew the piece was written in a religious context, like a lot of music then, but I really did not know that it would have the type of effect that it has on people in all these different environments.
What is the best way to describe it?
Janet Cardiff─Sound is very sculptural for me. I don’t usually make definitions which tend to limit how people might experience the work but this is an installation, a virtual choir.
As a technician what does it mean to be happy with the sound in this space?
George Miller─I’m pretty happy right now. Actually, Titus Maderlechner tuned this piece, I’m just a collaborator but I used to set this up before Titus came on. Every space absorbs the frequencies in a different way so when it moves to a new place, tuning is required to make sure that it feels right, right being appropriate to the piece. At first, the bass (the lower register voices) weren’t coming through because glass in this space was absorbing the sound and they weren’t getting the presence they needed. We brought those voices up to fill the space more. The space also responded to the sopranos and sounded too harsh, so we had to work with that too.
Everyone talks about the Cloisters as “the place” but Janet and Titus set that up and I wasn’t there. For me this is as good as it gets, the sound is so clear. I was tearing up and I’ve heard this thousands of times. For me, it never gets boring and it always gives me a reaction. If I don’t get that reaction, which is a tingling up and down my spine, then I know I have to make it do that.
Details: The Forty Part Motet by Janet Cardiff runs through January 18, 2016 at Gallery 308, Fort Mason Center, Landmark Building A, 2 Marina Blvd, San Francisco, 94123 (Greens Restaurant is at the other end of this building.) Hours: Wednesday-Saturday: noon to 8 PM; Sunday: 11 AM to 5 PM. Closed: Thanksgiving, Christmas Eve, Christmas Day, New Year’s Eve, New Year’s Day. Tickets: Admission is free but complimentary tickets are required for entry and can be reserved at motettickets.org. Due to high demand, visitors are advised to reserve tickets well in advance. A limited number of same-day walk-up tickets will be available to visitors throughout the installation. Follow #40PartMotet for availability. Parking: ample paid parking is available on an hourly basis at Fort Mason Center and payment is via credit card in machine.
Venice’s Biennale Arte 2015 closes with a full weekend of events that will take place from Friday 20th to Sunday 22nd November, at the Central Pavilion, Giardini, Arsenale and Giardino delle Vergini. This was my first time to attend the sprawling exhibition which opened May 9 and included over 80 national shows and a main exhibition curated by Nigerian-born Okwui Enwezor. Generlly, the national pavilions are where politics play out but, this year, Enwezor’s general theme “All the World’s Futures,” which involved 136 artists from 53countries, turned out to be highly political with a large number of artists lobbing harsh and complex critiques of the forces behind the global economy. Look for my article on ARThound just after the event closes.
“Framing Migrant Labor”─Matt Black, TIME’s Instagram Photographer of the Year, shows his work on the Central Valley at SRJC’s Agrella Gallery, lecture and reception on Monday, November 16
California photojournalist Matt Black was born in California’s Central Valley and lives there now, in the small town of Exeter. Some of his strongest work has been done within a 100-mile radius of his home. Working with a 35mm camera, he establishes a strong visual dialogue with the migrant workers in this drought-parched land, drawing us into the difficulties of their makeshift lives. Each shot is framed in such gorgeous natural light, with such care, that we feel his respect for their individual stories, their dignity, and for the land.
Santa Rosa Junior College’s Robert F. Agrella Art Gallery, will present “Framing Migrant Labor,” featuring 25 large images from Matt Black’s photo essay “From Clouds to Dust,” from November 12-December 10, 2015. In addition to Black’s photos, some 25 works by Sonoma County photographers Morrie Camhi, Otto Hagel, Hansel Mieth and Ernie Lowe will provide a look back at migrant labor from the 1930’s. 60’s and 70’s. The opening reception is Monday, November 16, from 4 to 6 PM and that same day, from noon to 1 PM, Black will talk on his documentary photography work at the campus’ Newman Auditorium as part of its Arts & Lectures series.
Matt Black’s work focuses on the themes of migration, agriculture, social inequality and the environment in his home country and in southern Mexico. Last year, he was named TIME’s Instagram Photographer of the Year (2014) and is a 2015 Nominee Member of the Magnum Photo Agency. He won the 2003 Alexia Professional Grant for his work “The Forgotten Black Okies: A Lost Journey into a Land of Broken Promises” which was named a Pulitzer Prize Finalist. In 1994, Black received an Alexia Student Award of Excellence for his project “The Transbay Terminal: San Francisco’s Destitute Gateway” which documented the homeless people who refuged themselves in San Francisco’s primary mass-transportation depot. In October 2015 he received the W. Eugene Smith Award in Humanistic Photography. He has been has been profiled in The New Yorker, National Geographic, Time and Slate. He just gave a workshop for prestigious Eddie Adams Workshop, considered the premiere photojournalism workshop. Right after his visit to Santa Rosa, Black, in high demand, jets off to Germany where he will be giving a workshop at Hamburg’s LFI (Leica Fotografie International) Workshop.
His current project “Geography of Poverty” in co-production with MSNBC, involves a cross-country trip where Black will stop in over 77 cities, documenting the plight of over 45 million people who live at the poverty level in the United States.
“To have Matt Black speak at our college and to have his work at the Agrella Art Gallery to share with our students and our community, is quite thrilling,” said Renata Breth, SRJC Photography faculty & gallery director. Breth first came across his work in his photo essay “The Dry Land” which appeared in The New Yorker (9.29.2014) and immediately applied for a major grant from the Randolph Newman Cultural Enrichment Endowment (of the SRJC Foundation) to bring the work to SRJC’s gallery where it could be seen by students and the community. “The photo essays speak without hesitation, in a direct, honest and sincere voice. The photos show poverty, drought and farm workers, revealing a shocking reality many of us are unaware of.”
The technology will be of interest too. All of Black’s photos appearing in the SRJC exhibit were taken with 35 mm film cameras, so they are from analog negatives. They are each gorgeously digitally printed on Museo Silver Rag paper, a fine archival paper, which resembles silver halide papers, with exceptional depth and detail.
Details: “Framing Migrant Labor” is November 12-December 10 at Santa Rosa Junior College’s Robert F. Agrella Art Gallery, located on the Santa Rosa campus on the first floor of the Frank P. Doyle Library, 1501 Mendocino Avenue, Santa Rosa. Phone: 707 527-4298. Gallery hours: 10 AM to 4 PM Mondays, Tuesdays, Wednesdays & Thursdays and 1 PM to 4 PM Saturdays. CLOSED: Fridays and Sundays and All school holidays (including November 26th to 28th, 2015) and summer. Parking Permits ($4/day) are required for both Santa Rosa and Petaluma campuses.)
Opening reception: Monday, November 16 from 4 to 6 PM.
Matt Black lecture: “Framing Migrant Labor” Monday, November 16, noon – 1PM, Newman Auditorium, Emeritus Hall, Santa Rosa Campus, SRJC (free to the public)
Gallery talk by Laura Larque and Andre Larque: “Historical Perspectives on Migrant Labor in California,” November 17, 2015, noon- 1 PM, Robert F. Agrella Gallery
Ernie Lowe lecture: “Photographing migrant labor in 1965” December 1, 2015, noon- 1PM, SRJC Petaluma Library – Connie Mahoney Reading Room, 12.1.2015
Degas in Petaluma—Robert Flynn Johnson’s impeccable collection of Degas drawings are at the Petaluma Arts Center, opening festivities Saturday evening
“Edgar Degas: The Private Impressionist, Works on Paper by the Artist and his Circle or shorthand…“Degas in Petaluma”…. is Petaluma Art Center’s (PAC) biggest coup to date. Featuring 100+ works on paper, the exhibition includes 40 drawings, prints, pastels, and photographs by Degas from his early days of making studies of works at the Louvre to late in his career. Also included in the show are works on paper by artists in his circle, including Mary Cassatt, Paul Cézanne, Jean-Auguste Dominique Ingres, and Henri de Toulouse-Lautrec. One of the reasons I’m so excited about this exhibit is that gives me another chance to meet the collector, Robert Flynn Johnson, and hear him hold court on his favorite subject, his art and his thought processes about art and collecting. I met him 20 years back when he was the curator in charge of the Achenbach Foundation for Graphic Arts at the Fine Arts Museums of San Francisco. He was one of their most interesting and knowledgeable curators then, always giving us the juiciest tidbits, enlivening the small victories and defeats in the artist’s daily struggle and reveling in the connections between artists. His own eclectic collecting habits were revealed to us with his marvelous photography show, “Anonymous: 19th and 20th Century Photographs and Quilts by Unknown Artists from the Collection of Robert Flynn Johnson,” at PAC in August 2011. (Click here to read ARThound’s review of that show.) And late last year, Joe McDonald’s Ice House Gallery featured some of Flynn Johnson’s even more eclectic works in “Catch and Release: Works from the Robert Flynn Johnson Collection.” It was there that we all had a chance to preview the chic and wonderfully informative catalog for Flynn Johnson’s Degas collection that Joe had shot the images for. Flynn Johnson’s writing in this catalog represents decades of scholarly research and rumination and reveals Degas as a fascinating young man, oddly rebellious and immensely talented. As Flynn Johnson explores the fine details and artistic choices in these artworks, they come to life. He wrote the wonderful wall captions for the show too, so prepare to be wowed on all fronts.
You won’t want to miss the opening party or his two talks at PAC—
Saturday, June 20—Opening Reception with wine and hors d’oeuvres (5-8PM) (click here to buy $10 tickets if you are not a member of PAC; free to members)
Thursday, July 2, 2015—Chasing Degas: My Four Decades Collecting this Artist and his Circle – Lecture by Collector Robert Flynn Johnson (7:00-8:30PM). $15 General, $10 PAC members.
Thursday, July 16, 2015—Public/ Private: Collecting for the Community while Collecting Personally, a Balancing Act – Lecture by Collector Robert Flynn Johnson (7:00-8:30PM). $15 General, $10 PAC members.
Details: “Edgar Degas: The Private Impressionist, Works on Paper by the Artist and his Circle runs through July 26, 2015. The Petaluma Arts Center is located at 230 Lakeville Street, Petaluma’s historic former train depot. Hours 11-5 PM Thursday through Monday, open until 8PM Saturdays. Admission for this special exhibit: $10 General. PAC members, FREE. Tickets may be purchased in advance, here.
Horse Sense—ARThound talks with San Francisco Opera’s Daniel Knapp about “Patches,” the equine star of “The Trojans,” at War Memorial Opera House through July 1, 2015
Horses are mythic. There’s none more colossal or more steeped in legend than the Trojan horse, a prize so glorious that it could not be left standing outside Troy’s gates but once brought inside, would destroy all those in power. As San Francisco Opera opens its summer season with six performances of Berlioz’s glorious musical epic, The Trojans, I spoke with David Knapp, the company’s new production manager, about “Patches,” its equine star. The 23-foot-tall Trojan horse, which is on stage for most of the 5+ hour opera, has been nicknamed “Patches” by SFO because it’s literally pieced together from scraps and functions much like a mechanized puppet, with carpenters and acrobats inside it manipulating it. Back after a 47 year hiatus, it took over a decade of planning to bring the $6 million production to San Francisco Opera (SFO). It’s staged by Sir David McVicar, the acclaimed Scottish director, and is a coproduction of SFO, Royal Opera House, Teatro alla Scala, and Vienna State Opera. Since the opera opened to a sold-out house on June 6, it has drawn universal praise from critics and audience alike. Long before the opera opened though, Patches was a big draw with SFO staff and special visitors who came back stage in droves to pose for photos with the humongous but intricately constructed artwork. Here is my conversation with Knapp about this horse—
What’s so special about this giant horse that has travelled here from Europe.
Daniel Knapp: It’s magnificent—7 meters (approximately 23 feet) tall and is not only a sculpture that is scenic art but it’s also a puppet to a certain extent. It’s constructed of steel and fiberglass and doesn’t weigh too much because it’s mainly fiberglass. It has a gaf piston in it which allows for the rocking of the head and basic movements and that’s very exciting. When it’s first introduced, you get the impression that it’s very tall, frightening. You only see the upper part of the head and wonder where’s it coming from and what does the whole thing look like and is it really a horse? There are 2 carpenters and 3 acrobats inside, moving and manipulating the horse and they’ve been here practicing since the rehearsal period began.
Who gets credit for artistic design of the horse?
Daniel Knapp: It’s Es Devlin, a British designer who’s involved with all the top rock and roll shows—U2 tour, Take That tours, Miley Cyrus—and with opera and theatre. She designed the closing ceremony for the 2012 London Olympic Games. She runs an office with a multitude of assistants and she has just opened an office in Brazil. The conception for the horse came from the workshops of the Royal Opera House and she worked with them to refine it, from the model to the life-scale sculpture we call “Patches” because it’s patched together.
Has Devlin created any other animals that we might recognize?
Daniel Knapp: She’s done all the set and scenic design on this opera but I’m not aware that’s she done another horse. For one of the last Take That tours, she did a big man, that was more than 40 feet tall, that stood up over the course of the concert, going from crouching to standing in the middle of the audience. (Take That is a leading British pop group that formed in 1990 and currently consists of musicians Gary Barlow, Howard Donald and Mark Owen)
(Es Devlin designed the giant walking elephant for Take That’s Circus Live Tour 2009. The 26 foot tall elephant had translucent skin made light-weight chain mail and was constructed by Mark Mason of Asylum Models. It was operated by 13 puppeteers inside the skins and another four at ground level who controlled the head, trunk and legs. It had rods that moved the ears and its tail was an inverted acrobat wearing a helmet with hair extensions. (To read about and see the elephant, click here.)
This version of Troyens is set, more or less, at the time of its composition, in the 1850s, Second Empire France. How did that influence the actual conception for the horse that looks like a machine horse?
Daniel Knapp: Everything that you will see that is part of the horse could have been made at that time or could predate that time. The horse is pieced together from what appear to be rifles, screwdrivers, all sorts of tools and scrap materials like keys…it’s actually mostly fiberglass, a piecemeal puzzle that once put together appears as this great horse.
Carbon footprint aside, what’s entailed in getting something of this magnitude to San Francisco? And then assembling it?
Daniel Knapp: We always use steam ship companies because air is too expensive. It was shipped in 16 containers (40 foot high cube containers). Your entire household could fit in 1 of these containers, or, if you’ve got an extensive household you might need 1.5 containers. It all arrived in pieces in a very organized matchbox system. A team form the Royal Opera House came over to help with the assembly because they are the originators. Actually, our staff went to La Scala last year and watched this process and got a feel for what it takes to put on this production. With this run, we did all of that assembly in 3.5 days; in Milan, they weren’t as quick as we were. We didn’t have the time or money to allow for more time to do it.
How many scenes does Patches appear in?
Daniel Knapp: He appears in a multitude of scenes but I’m not going to give away any of the excitement. He’s on stage for a fair while and, when he’s not hiding in the back, sometimes he’s looming in the background and sometimes he’s hidden by a blackout curtain.
How mobile is the horse and how does it move around the stage? I heard this entails acrobats and carpenters.
Daniel Knapp: Yes, that’s exactly what it takes. We have few carpenters and acrobats around and in it, moving it. It’s on wheels, on a huge A stand. If you think of a child’s swing on the playground and think of it for giants, that’s what the internal structure of the horse is. It moves around on wheels that are on tracks just like a train. The tracks are a part of the original design and actually travel with the production. We had to cover our stage floor with another floor and that entailed adding about 1 inch to our stage to ensure that the weight is distributed evenly so that we don’t damage our rather old stage floor. We also had to re-enforce some of the stage structure underneath to make sure that we don’t suddenly fall in the basement. The horse might be relatively light but the trappings—the drum trucks, the big scenery elements for Troy and Carthage—all together, those weigh 32 tons.
Anything tricky about coordinating the movement of the horse to the music and the singers? Do any of the lead singers have any direct interaction with the horse?
Daniel Knapp: As we know from the Trojan story, the horse is sort of a separate entity. The lead singers certainly react to it but they don’t interact with it directly. The horse’s movement on stage is cued like everything else—people execute what they have rehearsed and there’s nothing complicated about that. These are professionals who are used to working to cues from the stage manager, such as “horse go upstage.” We do this in rehearsal and there’s always a review afterwards to make sure that we have hit our marks. Sometimes, the director might want to change the speed but it’s not complicated. There’s one boss and that’s the director but on stage, it’s the stage manager who calls out when and where.
This is a fiery horse—how is the fire created and will there be accompanying liquid nitrogen and steam, like in the Ring?
Daniel Knapp: The horse itself doesn’t breathe fire but its mane burns, which is a very impressive sight. In the original version, in London, they had the horse smoke but due to restrictions over here, the director distanced himself from that when he did the revival in Milan. That’s what I said about cooking the meal for the third or fourth time, you’ve left out the ginger but added something else. Over here, steam and liquid nitrogen are our only possibilities to create atmosphere due to the CVA restrictions we work under as collaborating artists.
Do you have much freedom in interpretation of this opera and how the horse is used here in San Francisco?
Daniel Knapp: It’s like your last cooking experience when you invite people over for dinner and you remember that, three years ago, you did this fantastic meal and you want to do the same meal again. Will do it exactly the same way? No—that’s exactly the same situation with a revival or co-production. We are not the conceivers, David McVicar or Ses Devlin, we are realizing their artistic vision. We had Leah Hausman, the co-director from London, here, who is a dance and movement director and coach, and other of McVicar’s associates here. We could never do this just ourselves because then it’s not in the original spirit. People in the house who were part of the original creation production do feel differently than people who have just joined a few years later and we needed them.
How appropriate is the War Memorial Opera House stage for a horse of this weight and magnitude? Isn’t SF much smaller than the Royal Opera House or La Scala?
Daniel Knapp: It’s not only the horse but it’s also the enormous drum trucks which support Carthage and Troy. Carthage is an entire terracotta kingdom and you’ll be blown away by it, as much as by the horse. You’ve also got the chorus, the singers, dancers, acrobats—over 130 on stage.
Stage wise, we are a little smaller but, auditorium wise, we are bigger than all the European houses. We compare ourselves to the size of Warsaw’s Teatr Wielki, which has the biggest modern stage (together with the Opéra Bastille in Paris) in Europe. Here in the US, you have this curiosum or wonderful paradox because sometimes there are stages like ours that originally did not have a backstage or a real up stage storage area but only a stage area. Actually, up until 45 years ago, all our sets were built right on stage. Our auditorium is huge compared to all the European houses. With 3,146 seats, we are bigger than all other houses but now our stage is smaller, so over the next 20 years there will probably be some developments.
Any funny stories related to Patches so far?
Daniel Knapp: Just people excited to have their picture taken with Patches. It’s like we are a part of Disney World here; even the staff is coming down to the stage to have their picture taken.
What’s your favorite scene in Trojans?
Daniel Knapp: It’s the whole opera, the whole thing, because once it’s done because it’s such a complex and huge show that I can’t focus on one thing but rather all the contributing moments.
How are adjusting to your new position here? What are your responsibilities?
Daniel Knapp: I’m adjusting great; it’s full of surprises in a good and interesting way. The whole scope of coming to a new country and a new working environment offers a multitude of perspectives. It’s been very welcoming so far and very intense, so it feels a lot more like I’ve been here a year and half rather than just a few months.
I’m responsible for overseeing all the productions at SFO— all the scenic elements, costume shops, sound and technical departments and all the labor that’s involved, which is all the talent on the stage plus the electricians and all the support staff…so, it’s quite a scope. I’ve met a lot of people who have a certain sense of responsibility for this company, who identify with it and who have been here much longer than me. They’ve introduced me to the company culture and what necessary changes could be made and how we can achieve those as a team over the next 3, 5, 15, or however many, years to stay up with the world class opera companies.
With “Troyens” up first, followed by the world premiere of “Two Women,” it’s kind of a trial by fire for you. What’s the most demanding part of your job right now?
Daniel Knapp: I’m a little in both fire and water trials right now. I’m from a country that has plenty of drinking water and lakes on our doorstep and coming to Northern CA, and being in the middle of a drought, is also a big trial. To be able to make use of all the technology and intellectual capital that surrounds us here and to engage the techies is another exciting challenge for our opera company. With respect to the work load, at the Bregenzer Festival in Austria, I was always overseeing two productions; last summer it was three productions, one of which was The Magic Flute on the floating stage. I was also very involved with the pre-production of Turandot that will premiere on July 22. So that’s heavy experience with large-scale productions on the lake, in the open air, and it’s a bit of a different scale. We had many international co-productions as well with companies in Europe and the US, so I am quite used to doing multiple wedding dances at the same time. That was exciting but the requirements of a concentrated festival versus a company that is doing performances year-round are different. What I love here is that we have an interwoven schedule so that the three monumental productions— The Trojans, the world premiere of Two Woman and the revival of the classic, Figaro, in an adapted version, Figaro, will all be able to fit on stage. That was a lot to step into.
How did you prepare for this opera? Did you do extensive reading or do you mainly execute and manage?
Daniel Knapp: My learning process is the interaction with the artists, finding out what their real concerns are and looking behind the scenes. I’m not the guy who tries to be more prepared than the director and I don’t do the full research of the director or designers. However, when I have questions about why something is set-up a certain way and why something can’t be done, I get very involved. I always question creative teams about why they would want to emphasize something or not. I need to understand where they are coming from so that we can get the most from their art on stage. The great thing about my job is that, if I do it correctly, you don’t notice that I am there.
What are you most looking forward to in the coming fall season?
Daniel Knapp: Meistersinger of course! That’s because it’s another one of those monster shows with great music, a great designer, great artists…so that’s very nice. I’m also excited about Usher (Fall of the House of Usher) which is so theatrical. The great thing is that my former boss, David Pountney, is the director of that show, so I get to meet him under different circumstances, to collaborate and to actually tell him “no.”
Details: There are three remaining performance of The Trojans—Saturday, June 20, 2105, 6PM; Thursday, June 25, 6PM and Wednesday, July 1, 6PM. Seats are selling fast—purchase tickets here or phone the Box Office at (415) 864-3330. War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco. Every performance features supertitles (English translations) projected above the stage, visible from every seat. The June 25th and July 1st performance feature OperavVision, HD video projection screens in the Balcony level. For information about the SFO’s Summer 2015 Season, click here.
The 18th Sonoma International Film Festival (SIFF) starts Wednesday and will screen over 90 films from more than two dozen countries over 5 nights and 4 days. The big nights have been well-covered in the media. Among the treasures that you might not have yet discovered are several films, each an artwork in itself, on artists and designers, some virtually unknown, whose gift for creative expression will inspire and delight. $15 tickets are available for pre-purchase online for all of the films mentioned below. Victor Mancilla’s documentary, ART and Revolutions, about Mexico’s famed artist-engraver, José Guasalupe Posada, will screens Saturday at the Sonoma Valley Museum of Art, will have an accompanying art exhibition and a lively post-screening Q& A with the director and Jim Nikas, the collector. The opening night film, Alan Rickman’s A Little Chaos, which has Kate Winslet playing an unorthodox thinking widow hired to design part of the gardens at Versailles, has also peaked my interest. I love how Winslet embodies strength on scene and I’m intrigued with garden design, which poses interesting questions, artistic and otherwise. What is nature, how do we fit into it and how should we shape it when we can both physically and visually? Some of these fascinating issues are practical and others philosophical but we can only hope that Winslet’s Sabine de Barra tackles them substantively as she (predictably) snuggles up with the court’s renowned landscape architect artist André Le Notre (Matthias Schoenaerts) to design one of the most exquisite gardens ever conceived.
Now, on to the art line up—
Searching for Posada: ART and Revolutions (Mexico/USA, 2014, 41 minutes) Called a “revolutionary artist of the people” and hailed as “the Goya of Mexico” and yet virtually unknown, Mexican artist and printmaker José Guadalupe Posada (1852-1913) created a vast portfolio of important work. Mexican director Victor Mancilla (201 Squadron: The Forgotten Eagles (2009) Best Historical Documentary award, Smithsonian Institution) tells Posada’s story through Jim Nikas (of Marin), an obsessed American collector of Posada’s works. Nikas, who has the largest collection of Posada’s in the U.S., embarks on a passionate search for the truth about the artist. Traveling to the Posada’s hometown of Aguascalientes, to Leon and then Mexico City, Nikas meets art historians and encounters things that would have amazed even the artist Posada himself, including Fidel Castro’s pajamas and Che Guevera’s backpack. Three-and-a-half years in the making, ART and Revolutions© was shot on location in Mexico and features music by pianist Natasha Marin, wife of actor and avid Chicano Art collector Cheech Marin. (Screens: Saturday, March 28, 5 PM, Sonoma Valley of Art, $15 tickets) There is a post-screening Q & A with the director and Jim Nikas and an Exhibition of Posada’s original artwork from the collection of the Posada Art Foundation.
Art House—(USA, 90 min) Photographer Don Freeman’s masterful documentary Art House explores the handmade homes crafted by and lived in by eleven American—Frederic Church, Russel Wright, George Nakashima, Raoul Hague, Costantino Nivola, Paolo Soleri, Henry Chapman Mercer, Wharton Esherick, Henry Varnum Poor, Byrdcliffe Arts Colony, and Eliphante. Embracing the synergy of curves, natural materials and muted light, each glorious home reflects its creator’s distinctive voice and practice as it merges with architecture. An anthem to creative souls who follow their hearts, this inspirational and gorgeously shot doc makes the sleek pages of Architectural Digest and Dwell seem passé. (Screens: Thursday, March 26, 5:30 PM, Women’s Club; Sunday, March 29, 7:30 PM Sonoma Valley Museum of Art. $15 tickets)
Beltracchi: The Art of Forgery (Beltracchi: Die Kunst der Falschung)—(Germany, 2014, 93 min) It’s ironic that 58-year-old German Wolfgang Beltracchi looks like Alfred Durer. Beltracchi masterminded one of the most lucrative art scams in postwar European history. For decades, this self-taught painter, and self-proclaimed hippie, passed off his own paintings as newly-discovered masterpieces by Max Ernst, André Derain, Max Pechstein, Georges Braque, and other Expressionists and Surrealists from the early 20th century. His wife, Helene Beltracchi, along with two accomplices, created convincing backstories and sold the paintings for six and seven figures through auction houses in Germany and France, including Sotheby’s and Christie’s. One fake Max Ernst hung for months in a retrospective at the Metropolitan Museum of Art. In 2004, Steve Martin purchased a fake Heinrich Campendonk for $860,000 through a Parisian gallery. Arne Birkenstock’s Lola award winning documentary Beltracchi: The Art of Forgery (“Beltracchi: Die Kunst der Falschung,” 2014), features the larger than life Beltracchi sharing his secrets; those he duped sharing their dismay; and those who caught him talking about the painting that blew it all up. (Screens: Thursday, March 26, 8 PM, Woman’s Club and Sunday, March 29, 5 PM, Sonoma Valley Museum of Art, $15 tickets)
Generosity of Eye—(USA, 63 min) Octogenarian William Louis-Dreyfus, the father of Julia Louis-Dreyfus (Elaine Benes on “Seinfeld) and now “Veep” ) started collecting art in the early 1960s, things that caught his eye, not investment pieces. While there are no Warhols, Freuds, or Picassos in his 3,500 piece collection, he conservatively estimates it to be worth at least $10 million and possible as much as $50 to $60 million. (from 5.26.14 Wall Street Journal article) There are pieces by Paul Gaugin, Vassily Kandinsky, Leonardo Cremonini, George Boorujy, Helen Frankenthaler, and self-taught African-American artist and former slave Bill Traylor. Louis-Dreyfus served as chairman of Louis Dreyfus Group, a global conglomerate started by his great-grandfather in 1851. Forbes estimated his net worth at $3.4 billion in 2006. Director Brad Hill, who is Julia Louis-Dreyfus’ husband, has captured the very personal story of her discovering how her father’s passion for art and justice led him to donate most of this collection over the next several decades to the New York-based non-profit, the Harlem Children’s Zone, HCZ. This touching story of a major art collection transforming into educational opportunity that will help kids in Harlem escape the vicious cycle of poverty has the intimacy of a home movie. (Click here to view the Louis-Dreyfus Family Collection web site which includes the entire collection) (Screens: Thursday, March 26, 9:30 AM Sebastiani Theatre and Sunday, March 29, 5:30 PM Burlingame Hall. $15 tickets)
Dior and I —(France, 90 min) There are just a handful of fashion greats who have had French designer Christian Dior’s enduring impact on 20th century style. Filmmaker Frédéric Tcheng (co-director Diana Vreeland: The Eye Has to Travel, 2012 and Valentino: The Last Emperor, 2008) delivers another insightful exploration of this style pioneer’s enduring influence through the storied world of the House of Christian Dior. Dior passed in 1957 but his name has lived on through this contemporary fashion house, now owned by Groupe Arnault. This thoughtful doc delivers a dramatic behind-the-scenes look at the new Artistic Director, Raf Simons’ very first Haute Couture collection. From conception through its ultimate exhibition, the process is shown to be a nerve-racking labor of love. Stoic Simons must coax the very best from his dedicated collaborators who literally make it all happen. Tcheng’s revealing homage to pressure cooker couture is fascinating. (Screens: Thursday, March 26, 2 PM Sonoma Community Center and Saturday, March 28, 8:30 PM Sonoma Valley Art Museum $15 tickets)
Art & Design Shorts Program—Fine cinematography comes in various packages. SIFF has a soft place for shorts, recognizing that, outside of the festival circuit, there is little chance to experience the synergy of a well-executed short. The festival offers three curated shorts programs and will screen dozens of individual shorts in advance of its feature-length programming. British artist David Hockney, Italian architect and interior designer Paola Navone, , 5th generation farmer and vintner Jim Bundschu, multifaceted designer Michael Vanderbyl and various Native American architects, builders and tribal members are the subjects of five Art & Design shorts that are guaranteed to stimulate your senses and fire up your imagination. Total run time is approximately one hour (Screens: Friday, March 27 12:30 PM and Sunday, March 29, 9:30 AM both at Woman’s Club. $15 tickets)
ARThound’s previous festival coverage:
SIFF 18 details:
Full festival schedule by film type is available online here.
Full schedule in calendar form is available online here.
Official Full SIFF Film Guide is available online here.
Information about passes and tickets is here.
Sebastiani Theatre – 476 First St. East (seats 325)
Sonoma Community Center-Andrews Hall – 276 East Napa Street (seats 150)
Mia’s Kitchen at Vintage House – 126 First Street West (seats 150)
Sonoma Woman’s Club – 574 First Street. East (seats 100)
Sonoma Valley Museum of Art – 551 Broadway (seats 70)
Vintage House– 264 First Street East
La Luz Center – 17560 Gregor Street, Boyes Hot Springs (3.5 miles from town square)
CAAMFest—Asian American film, food, music and comradery kicks off Thursday, March 12, and runs for 11 days in San Francisco, Berkeley and Oakland
The Center for Asian American Media’s CAAMfest turns 33 this year and continues its morph from a pure film festival into a series of festive happenings that fuse cutting edge independent film with music and food—all with an Asian American twist. CAAMFest takes place over the next 11 days in venues all around the Bay Area including the Asian Art Museum and the Oakland Museum of California, which add their enticing exhibits to the mix. Formerly the San Francisco Asian American Film Festival (SFIAAFF), CAAMFest 2015 offers more than 100 movies and videos focused on the discovery of new talents, voices and visions. It’s by far the largest festival of Asian American movies in North America. Under the leadership of Masashi Niwano, now in his fifth year as festival & exhibitions director, the event has become one of the country’s major platforms for conveying the richness and diversity of the Asian American multicultural experience. ARThound loves this festival because it’s so excellently curated, delivering rich and unusual stories from around the globe that stay with you for years.
This year, you’ll see Asian American broadly defined too. Iranian director Rakshan Banietemad’s new film, Tales, which picked up the award for Best Screenplay at Venice, caught the CAAMFest programmers’ eyes, not just because it’s a great film but because the director, working under dior conditions in Iran, creatively stitched together a series of shorts, stories from her previous films, to create a full length film. In so doing, she managed to navigate the bureaucracy of the Iranian cultural ministry which requires a license for a feature but not for shorts. Bravo! There are also stories involving the Asian diaspora. Juan Martín Hsu’s La Salada is set in Argentina’s bustling discount market, La Salada, just outside of Buenos Aires, and involves an ensemble cast of Korean, Taiwanese, and Bolivian immigrants whose experiences all converge at the market. It’s thus no surprise that “travel” is this year’s theme. Opportunities for armchair travel abound and over 200 guests will be flying in CAAMFest.
Opening Night: The festival kicks off at the historic Castro Theatre on Thursday evening (March 12), with Benson Lee’s Seoul Searching (2015), his new feature film which garnered quite a buzz when it premiered at Sundance in January. A tribute to the 1980’s teen movies of John Hughes, but infused with a Korean sensibility and Lee’s own experiences, this dramedy is set in a state run summer camp in Korea that brings together Korean teens from all over the globe for the purpose of teaching them about their culture. Lee uses the teen’s stories, and their unexpected twists, to explore the Korean diaspora. Lee’s Planet B-Boy, about break-dancers in an international competition, won best documentary and the audience award at CAAMfest in 2008. Lee and several cast members will attend.
Opening Gala: After the screening, there’s an opening night gala at the Asian Art Museum, with a 1980’s dance party with cocktails and fine food amidst the Seduction exhibit of Edo-period Japan. The exhibition has over 60 works of art and features Japanese artist Hishikawa Moronobu’s (1618-1694) spectacular 58 foot long painted silk handscroll, A Visit to the Yoshiwara, which is shown completely unfurled for the first time. The masterpiece, on loan from the John C. Weber, depicts daily life in the entertainment district in the 17th century.
CAAMfest’s Centerpiece movie: Shonali Bose’s Margarita with a Straw (2014) screens at Castro on Sunday, March 15th and represents the powerful storytelling and moments of palpable intimacy that CAAMFest is famous for. Kalki Koechlin plays Laila, a young woman from Delhi who is determined not to let her cerebral palsy interfere with her life —she writes lyrics for a rock band, flirts wildly with her classmates and dreams of going to New York to participate in NYU’s prestigious creative writing program to which she’s been admitted. Set in Delhi and New York, the film is a brave and glorious homage to that old adage—“follow your heart.”
Closing Night: The festival’s closes with Bruce Seidel’s Lucky Chow, a six-part PBS series which will be showcased over the course of two days—Saturday and Sunday, March 21 and 22—at Oakland’s New Parkway Theater. The series features Danielle Chang (LUCKYRICE culinary festival founder) as she travel across America, taking in the Asian food landscape. Accompanying the film will be an Asian-inspired curated menu from the New Parkway kitchen. Other food-related films are Grace Lee’s Off the Menu: Asian America and Edmond Wong’s Supper Club exploring Bay Area restaurants.
Honoring the 40th anniversary of Cambodia’s fall to the Khmer Rouge: Lest we not forget the tragic moments that also define cultures, CAAMfest is presenting a collection of powerful stories of survival and resiliency from Cambodia’s tragic Khmer Rouge period. As part of the Spotlight feature on acclaimed filmmaker Arthur Dong, his new documentary, The Killing Fields of Dr. Haing S. Ngor, chronicles the years encapsulating the Khmer Rouge’s tyranny through the eyes of Dr. Haing S. Ngor, who escaped to America and recreated his experience in the film The Killing Fields, for which he won an Academy Award in 1984. Dong will be in conversation with film critic and author B. Ruby Rich on Friday, March 20 at New People Cinema.
Perfectly Peachy: The festival is also honoring the Masumoto Family, fourth generation peach California peach farmers, with a CAAMFeast Award and a special evening of storytelling at the OMCA (Oakland Museum of California) on Friday, March 20, where the CAAM-produced documentary, Changing Season: On the Masumoto Family Farm, will have its world premiere. The entire family— Mas, Marcy, Nikiko and Korio Masumoto—will be in attendance. The Masumotos, who have an 80 acre farm south of Fresno, are famous for their highly-prized heirloom Sun Crest peaches and tenacious adherence to sustainable practices as well as their lyrical writing on farming and food. When was the last time you visited the Oakland Museum? CAAMFest provides a perfect opportunity to combine film with art. Fertile Ground: Art and Community in California (ends April 12) is an exciting collaboration between SFMOMA and OMCA that explores California artists, many of them Bay Area artists. Marion Gray: Within the Light (ends June 21) is a riveting exploration of San Francisco-based photographer Marion Gray’s work over the past 40 years documenting Bay Area artists and art happenings. Bees: Tiny Insects, Big Impact (ends September 20) will educate and entertain the entire family.
Music: In addition to the movies, Korean musicians have a strong presence at CAAMFest with performances from Awkwafina (Chinese Korean American rapper Nora Lum from Queens) and Suboi, the Vietnamese “Queen of Hip Hop” and a host of other party rockers who will keep things lively before and after the movies.
Stay tuned to ARThound for an interview with the Masumotos about all things peachy.
When/Where: CAAMfest 2015 runs March 12-22, 2014 at 8 screening venues in San Francisco, Berkeley, and Oakland and as well as select museums, bars and music halls.
Tickets: This popular festival sells outs, so advance ticket purchase is highly recommended for most films and events. Regular screenings are $14 with $1 to $2 discounts for students, seniors, disabled and current CAAM members. Special screenings, programs and social events are more. Festival 6-pack passes are also available for $75 (6 screenings for price of 5). All access passes are $450 for CAAM members and $500 for general. Click here for ticket purchases online. Tickets may also be purchased in person and various venue box offices open one hour before the first festival screening of the day. Rush Tickets: If a screening or event has sold all of its available tickets, there is still a chance to get in by waiting in the Rush line. The Rush line will form outside of the venue around 45 minutes before the screening is set to begin. Cash only and one rush ticket per person and there are no guarantees.