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After Wb Yeats' Noh Reincarnation

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After Wb Yeats' Noh Reincarnation SIMON STARLING: AT TWILIGHT (AFTER W. B. YEATS' NOH REINCARNATION) FRIDAY, OCTOBER 14, 2016—SUNDAY, JANUARY 15, 2017 Members' Opening: Thursday, October 13, 7:30 PM At the height of WWI, poet W. B . Yeats collaborated with members of the avant garde to stage his Japanese noh inspired dance play At the Hawk's Well (1916). To mark its centennial, Turner Prize winner Simon Starling reinterprets this production in an exhibition that illustrates the impact of noh on Western Modernism. Newly created masks, costumes, and a dance on video are paired with works by the 20th-century masters connected to Yeats' play, bringing to life Starling's irrepressible inventiveness. This exhibition was organized by Japan Society in collaboration with The Common Guild (Glasgow, Scotland). EXHIBITION-RELATED PROGRAMMING: LECTURE Simon Starling Friday, October 14, 6:30 PM Buy Tickets ART & DESIGN | ART REVIEW Simon Starling: Modernism Gazing Into the Past By JASON FARAGODEC. 29, 2016 Masks and Video From “Simon Starling: At Twilight,” an exhibition at Japan Society. “Modernism is our antiquity,” the historian T. J. Clark wrote in “Farewell to an Idea,” his 1999 eulogy for the art of the last century. By which he meant: As Greece and Rome served as the base line for Western culture from the Renaissance onward, modernism itself had become our model and myth, to be reinterpreted at will but never really understood. Spend half a day in Chelsea, and you will see few gods and heroes — but you will trip over archives of failed utopian collectives, photos of crumbling tower blocks, rebooted avant-garde dances and all sorts of fragments of the recent past. Ulysses may be dead, but “Ulysses” endures. Few contemporary artists have wrestled with the legacy of modernism as consistently as Simon Starling, a Scottish artist based in Copenhagen, whose previous projects have involved melting Bauhaus chairs down into beer cans or chucking a replica of a Henry Moore statue into Lake Ontario. Now, in an airtight but gratifying exhibition at Japan Society — his first at a New York City institution — he turns to William Butler Yeats and Ezra Pound, two modernist writers who had their own ornery gazes on the past. Yeats’s “At the Hawk’s Well,” a 1916 one-act play indebted to both Irish folklore and Japanese drama, provides the tonic note for Mr. Starling’s “At Twilight,” a forking meditation — featuring both his own art and significant historical loans — on modernism’s cross-cultural power and contemporary resonance. This is a rare outing for a non-Japanese artist at Japan Society, and it has been curated by Yukie Kamiya, the director of the institute’s art gallery. It opens with a dark, spotlit gallery featuring exquisite lacquered masks, of the sort used in Japan’s highly ritualized Noh theater, attached to charred tree trunks. (The masks were newly made from Paulownia wood by Yasuo Michii, an artisan with whom Mr. Starling has collaborated before.) Rather than recreate the props of “At the Hawk’s Well,” Mr. Starling riffs on its creators and their colleagues in wartime Dublin, Paris and Tokyo. One mask depicts Yeats with a swoop of lustrous white hair, his jaw shut by knotted strings. The one depicting Pound, who served as Yeats’s secretary and translated Noh dramas, is all white and angular, repurposing the bust of the poet sculpted by Henri Gaudier-Brzeska in 1914. Already, then, Mr. Starling is both channeling Yeats’s original play and improvising, to create a remake that chases its own tail. There are other masks. A gilded one has just two slits for eyes; it represents Nancy Cu- nard, the hard-drinking heiress who opened her home to Yeats’s performers and whom Brancusi sculpted in a similarly abstract way. Another draws on Jacob Epstein’s “The Rock Drill,” a classic of Vorticist machine romance that later came to symbolize the brutality of World War I. A stern bronze mask with long animal hair depicts Michio Ito, the Japanese dancer in “At the Hawk’s Well”; he played the title bird, who protected a well of immortal- ity. (You may have seen the dashing portrait of Ito on the poster for “Human Interest,” the Whitney’s current show of American portraiture.) A video features the alluring Thomas Edwards, of the Scottish Ballet, in a hawk costume, as he reimagines the play’s largely undocumented choreography. He swoops his arm down, in flight; he lunges backward, pushing his head to the ground; he bobs left and right, like a disco dancer, against a score of cymbals and horns that charges harder than the flute and drum backdrops of Noh. You can later see his ravishing steel-gray costume, which Mr. Starling designed with a Tokyo atelier. Mr. Starling, who won the Turner Prize in 2005, first presented “At Twilight” in Glasgow, where the masks were used in a three-night perfor- mance of a new play whose characters includ- ed Yeats, Pound, Ito, Cunard and Mr. Starling himself. (A critic for the magazine Frieze called Yasuo Michii’s “Mask of Nancy Cunard (After the performance “as much theatrical lecture as Constantin Brancusi)” in the Simon Starling play.”) At Japan Society, the new masks and show at Japan Society. costumes are instead placed in conversation with impressive archival materials from Yeats and his circle: letters from the poet detailing the preparations for “At the Hawk’s Well,” on loan from the Harry Ransom Center at the University of Texas at Austin; “The Rock Drill” from the Museum of Modern Art; and a newly cast edition of Brancusi’s Cunard bust. Half a dozen Noh masks from the 14th century, and woodblock prints of Meiji-era Japa- nese actors, reintroduce the theatrical tradition that Yeats and his collaborators — with the confident universalism that we later generations can find suspicious — actually understood rather poorly. And, a bit weirdly, there is a stuffed Eeyore, A. A. Milne’s depressed poetry- writing donkey; Yeats and Pound waited out the war in the Sussex forest where Milne set “Winnie-the-Pooh.” “At the Hawk’s Well (Grayscale),” a mask by In other, more nervous hands, the kind of archival project that Mr. Starling has undertaken Yasuo Michii. could become defensive, an easy way to buttress one’s own position in an art history that can seem infinite. (When everything’s been done, isn’t it safest to rework an older masterpiece?) What makes this project more en- grossing — beyond the beauty of the masks and the elegance of the filmed dance — is Mr. Starling’s understanding of historical modernism as a transnational condition, indeed the first such transnational style, which an Irish playwright, an American poet and a Japanese dancer could share even if they understood it with slight differences. That promiscuous approach is one the globe-trotting Mr. Starling adopts in “At Twilight,” though here Noh theater and Irish legend have been supplanted, as source materials, by modern- ism itself: The recent past is our own mythology. And yet gazing on Mr. Starling’s masks and on the photos and letters from a century ago, I felt that the distance between the two bod- ies of work was not so great. The idea that modernism may be our very own kind of antiquity emerged in the 1990s during a moment of relative peace and permanence that some thought signified the end of history. Two decades later, the themes of Yeats, Pound and other modernists — themes of alienation, decay, a world in fragments — feel more current than anyone expected. Farago, Jason, “Simon Starling: Modernism Gazing in the Past”, New York TImes, December 29, 2016 ART & DESIGN Art Fall Preview: From East Coast to West Coast. From Concrete to Ethereal By MARTHA SCHWENDENER | SEPT. 16, 2016 SIMON STARLING: AT TWILIGHT Oct. 14-Jan. 15, Japan Society Gallery A Turner Prize-winning artist turns the Japan Society into an immersive multimedia environment. Noh, the traditional Japanese theater using masks, is joined with “At the Hawk’s Well” (1916), a play by the Irish writer W. B. Yeats set in the middle of World War I. japansociety.org. Schwendener, Martha, “Art Fall Preview”, New York Times, September, 18, 2016, AR 90 ART & DESIGN A Fiery Splash in the Rockaways and Twists on Film at the Whitney By ROBIN POGREBIN MAY 26, 2016 Japan Society Show When the Turner Prize-winning artist Simon Starling was preparing the piece he would exhibit at the Hiroshima City Museum of Contemporary Art five years ago, he learned about masked Japanese Noh theater, which inspired W. B. Yeats’s 1916 play, “At the Hawk’s Well.” Now Mr. Starling is building on that project with “At Twilight,” his first institutional show in New York and a rare solo exhibition at Japan Society that features a non-Japanese artist. It is also the first exhibition by Yukie Kamiya, Japan Society’s new gallery director, who used to be chief curator at the Hiroshima museum. The show is organized with the Common Guild of Glasgow, which will present Mr. Starling’s version of the Yeats play in July. Mr. Starling said that he was intrigued by the idea of masked theater, “where nobody is who they appear to be.” Pogrebin, Robin, “A Fiery Splash in the Rockaways and Twists on Film at the Whitney”, The New York Times (online), May 26, 2016 The exhibition “At Twilight” explores the 1916 play “At the Hawk’s Well,” written by William Butler Yeats, who was inspired by Japanese Noh theatre. Illustration by Ping Zhu Simon Starling Revives the Spirit of Yeats The British conceptual artist brings artifacts from a reinterpretation of “At the Hawk’s Well” in Glasglow to Japan Society.
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