You will likely remember the (somewhat) recent restoration of Ecce Homo in Spain that resulted in a rather different representation of Jesus in the newly finished product. It quickly became a meme and has since been circulated widely on the internet. It came to mind after seeing this following video about art restoration. Take a look:
The video takes us through the process of the restoration of Mother Mary to demonstrate the ways in which art is maintained to last. But as I was watching the video, I began to wonder when restorations are considered to be good and necessary and when they are considered to be destructive. As shown in the video, much care is taken with the restoration process — every detail attended to with great care. While the finished restoration of Mother Mary is, to the casual observer, far more similar than that of Ecce Homo to the worn image we see in the beginning of the video, are the restorations of the two all that different, practically speaking? Continue reading “A Good Fake or a Bad Fake?”
Like Wimbledon, I watch the Eurovision finals each year — we started doing it a few years ago. I was in Greece during the finals back in 2009 (“This is our night!”) and, since then, have gotten a kick out of the finals, especially the hour long voting ritual once all the songs have been performed, when local hosts, presumably from each country’s own telecast, “call” into the host city to reveal who their country voted for. That the awkward time delays in almost all of these reports makes it seem like a 1970s interview from halfway around the world, coupled with the fact that each country’s local host presumably wants to get as much as they can from their 30 seconds on air with the estimated 180 million viewers worldwide, while the event’s hosts back at the venue squirm on-air because they just want to hear their votes so they can speed things along, makes it all the better. Continue reading “And Our 12 Points Go To…”
A friend on Facebook posted a link the other day to an interesting art exhibition by Gade, who was born in 1971 in Lhasa (to a Chinese father and Tibetan mother).
As the series is described:
Paintings from his ‘New Buddha Series’ and his ‘Diamond Series’ reflect this culture shock with images of such American iconic pop figures as Mickey Mouse, Spiderman and the Hulk appearing in the centre of traditional-looking works. Gade points out that these figures show up in every corner of the earth. “When I visited a tiny village called Pazi at the base of Mount Xishabangma (8,102 metres) in the Himalayas, the kids there had backpacks with Mickey Mouse on them, and were drinking Coca Cola. That made me realise the incredible power of those ubiquitous emblems of Western culture and Western values.”
And it got me thinking: how is this art not an example of code switching? And how is code switching not just a synonym for culture?
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