“When the Royal Museum of Fine Arts, Antwerp (Koninklijk Museum voor Schone Kunsten Antwerpen, KMSKA) reopened on 24 September 2022, it had been closed for 11 years for a massive renovation that involved every part of the building and grounds. Two of three recent books cover the KMSKA as a museum, and highlights from the museum’s collections; the third covers Flemish and Walloon drawings from the Royal National Library of Belgium, in Brussels.
KMSKA: The Finest Museum is an overview of the renovation, including extensive photographs and plans relating the work done, including photographs of the renovated museum complete with art works. The museum was established in 1810; it expanded over the centuries and moved location from the academy to a purpose-built museum in 1890. It now houses 5,882 works, with prints by and after Rubens amounting to 714 prints…”
Alexander Adams,Towards a Based Barbican: Outline for a Dissident Arts Centre, Golconda Fine Art Books, March 2022, first edition, 16pp, English, 80gsm cream paper, one-colour blue paper cover, A5 size, ISBN : 978-1-9999614-3-5, 50 copies, each signed and numbered, £2.50 + £2 p&p (UK and worldwide). Any future edition will be in cream covers and will not be signed.
“This pamphlet covers the potential advantages and disadvantages of a dedicated arts centre that would be committed to presenting dissident, dissenting, reactionary, anti-progressive and traditionalist cultural material. It is partly an expansion upon three articles: an opinion piece published on Bournbrook Magazine website, a book review published on The Brazen Head website, both written in February 2022, and “Towards a based Eisteddfod”, Bournbrook Magazine website, October 2021. This pamphlet includes new material and expands the discussion about the Barbican Arts Centre, London to present a wider view. Here, I take an overview of the challenges facing any cultural venture in this field. These steps and principles may be taken up by other writers with specialist experience.”
This book may be purchased directly from me (by emailing), via Amazon (UK residents only) or by visiting this page and contacting me https://www.alexanderadams.art/contact. Payments are £4.50 per book or £2 p&p + £2.50 per book for multiple orders. Payments can be received by bank transfer, cheque, cash and PayPal.
“If, after I die, they should want to write my biography,
There’s nothing simpler.
I’ve just two dates – of my birth, and of my death.
In between the one thing and the other all the days are mine. […]
– ‘lf, After I Die’, Fernando Pessoa writing as Alberto Caiero
“He led a respectable life. He wore smart clothes to the office. He wrote and translated material, sometimes with a flourish that belied his extramural activities. He was courteous and a touch playful, a bachelor in his thirties. He was given to using spare time to write at his desk. At the end of the work day, he would put on his hat and raincoat and walk through the capital’s streets, thinking of his latest project. Perhaps he would go to his usual café, where he would see friends. They admired him as a writer, appreciating his abilities, chiding him for his perfectionism. He published a little but they knew he wrestled with larger work which was not made public, even to them. When he died he was mourned by his friends and his readers but they did not realise what a giant he had been. In time, he would come to define their whole nation.
“This could be a description of Franz Kafka but it is not. American Richard Zenith is a leading authority on Fernando Pessoa. He has edited and translated Pessoa’s writing. Living in Lisbon, Zenith inhabits Pessoa’s home city, relic of a glorious age and scene of an inexorable decline. It is a testament to Zenith’s devotion and ingenuity that he has managed to produce a 1,000-page biography of a figure whom he describes as ‘fanatically private.’ There is no autobiography; there are few revealing letters; the most informative ones are the drafts and unsent (mostly unfinished) letters he kept. There were no direct descendants. There are three diaries with short factual entries that together cover a total of over half a year. Zenith describes the interviews and memoirs of those who knew Pessoa as uninformative – or at least informative on how reserved the subject was. Pessoa was well aware of this and seemed to have actively participated in this occlusion. He was much given to self-reflection and intimations of both immortality and obscurity….”
“The neologism is beloved of technocracies, cults and dictatorships; the regime of the USSR had traits of all three tendencies. The lexicon of the USSR sprouted neologisms like mushrooms: Cominform, Comintern, Glavlit, Gosplan, Komsomol, Proletkult, Sovnarkom. VKhUTEMAS was an abbreviation of Higher Art and Technical Studios, a Bolshevik-founded art training school founded in Moscow in 1920. It was set up alongside the even more shortlived INKhUK Institute of Artistic Culture(Institut Khudozhestvennoy Kultury/Институт Художественной Культуры), which only existed from 1920 until 1924, by IZO-Narkompros, the Department of Fine Arts of the People’s Commissariat for Education. Despite being backed by the state, it failed to survive as long as the Bauhaus…”
“Berlin’s Alte Nationalgalerie exhibition of Belgian Symbolists, Decadence and Dark Dreams: Belgian Symbolism, closed last month. As few were able to attend, for obvious reasons, this article will review the exhibition from the catalogue.
“Symbolism – like its precursor, Romanticism – is a school that thrived, and had its premier exponents reside, in Northern Europe. Belgium produced some of the best Symbolist art in the era 1860-1914. Artists of the new nation of Belgium in search of an identity reached back to the Flemish Primitives as a strong regional model and nation achievement.
Symbolism was a rejection of the deracinating impact of greater homogeneity in industrial production, education, and news dissemination, and the dwindling of traditional religion, farming and attachment to the land and homeland
“Symbolism was a rejection of the deracinating impact of greater homogeneity in industrial production, education, and news dissemination, and the dwindling of traditional religion, farming and attachment to the land and homeland. In the same way the Arts & Crafts movement was a reaction against industrialisation, Symbolism was a reaction against rationalism…”
“Albert Camus (1913-1960) confessed that he had one wellspring of inspiration: his Algerian childhood. His silent unlettered mother, his absent father (killed in the Great War) and the ever-present warmth of the sun and the presence of the sea: all these were the foundations for his insights into the world:
A man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened. This is why, perhaps, after working and producing for twenty years, I still live with the idea that my work has not even begun.
“Ironically, Camus would be dead less than two years later, not even 50, killed in a car accident.
“This idea of a return to an immutable emotional locus is something Camus reprises in the 1958 introduction to The Wrong Side and the Right Side, some of his earliest writings. This is the first part of Personal Writings, which also includes the 1939 collection Nuptials (Noces) and Summer (L’Été) of 1954. The essays of The Wrong Side and the Right Side (L’Envers et l’Endroit, previously translated as Betwixt and Between) were written 1935-6 and published in 1937 in Algeria…”
“We are familiar with the folly and – from the Baroque period onward – the purposefully constructed ruin used to enhance the pathos of a place, most especially a view of a country estate. This would be a view that could be controlled, protected and secluded, reserved for the delectation of initiates, guests, devotees and – crudely – the owners of the land. For if wildness can be fabricated as easily as order, then ersatz history can also be generated to meet the expectations of the cultivated observer. The frisson of melancholy, the stimulation of imagination and the contentment of viewing destruction from a position of comfort are experiences the ruin can provide. Whether or not that ruin is ‘real’ is a matter of degree. After all, a building as a habitable residence and as a blasted ruin are separated by less than a human lifespan and can be produced through merely absence of funds or care. It can be cultivated by purposeful neglect as well as it can be forged by purposeful intent….”