In praise of movement

by Amar Patel in ,


How do you feel when you dance? A little more alive or dead with embarrassment? It took me a good few years into adulthood to cast aside self-consciousness and submit to the energy of the music around me. But when I did, there was a newfound sense of liberation that didn’t depend on downing a stupid amount of alcohol. I cared less about how I should be moving or who’s watching. Instead, I let the rhythm be my guide and surrendered to it.

At best, this progressive casting off of my inhibitions became a rite of passage. It led to memorable moments of communion, feeling the exchange between performer and audience, and dancer to dancer. There is personal space, however minute, to express oneself in that moment and yet simultaneously we are moving as one. The collective life force we experience can be restorative, invigorating, transformative.   

Consider this quote by Agnes De Mille, one of the great choreographers of the 20th Century who helped revolutionise dance in ballet and musical theatre. “To dance is to be out of yourself. Larger, more beautiful, more powerful…” said De Mille who also published 11 books. “This is power, it is glory on earth and it is yours for the taking.'“

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Amar Patel

Making art from awkward moments

by Amar Patel in


Have you seen any of Pilvi Takala’s work? On Discomfort, her largest solo exhibition to date, is reaching the end of its run at Goldsmiths CCA and it’s one of the most thought-provoking yet amusing afternoons I have spent in a gallery or museum.

One reason is that I am forever curious about human nature, and to what extent we do or don't get on with one another. The latter is often for silly reasons. Another appealing aspect is that so much of the social interaction she investigates is face-to-face, which I rarely see in art practice these days. At least in the institutions I have visited.

Takala uses camera footage (as well as text message conversations and other recorded exchanges) in her experiments to take us into specific environments. Each with their own codes of conduct and unwritten rules of engagement.

Then, in a process akin to what sociologists call “breaching”, she bends and breaks those rules to test their validity, and “to touch the grey areas between the rules” as she explained in an interview for Prix de Rome in 2011.

What is normal? What’s not acceptable? What are the benefits of conformity and the consequences of dissent? How do people (re)negotiate these unusual situations that the Finnish artist has created by pushing the boundaries (sometimes a risk to her own personal safety)?

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Amar Patel

Jet set

by Amar Patel in


As a kid, I used to collect ring-pulls from Pepsi cans to exchange for prizes like a pocket radio. Then harass customers in the shop for their silver foils from cigarette packets, which bought me silver-played wine goblets im my decadent days of youth. So it was easy to sympathise with go-getter John Leonard, the key protagonist of Netflix docuseries Pepsi, Where’s My Jet?

In the mid-Nineties, Leonard was a 21-year-old business student from Washington State who watched a TV ad for Pepsi Stuff (a major new campaign to challenge market leaders Coke featuring anyone from Cindy Crawford to John Lee Hooker) and saw a massive opportunity.

He took the image of a $23m Harrier jet with 7,000,000 points beneath it as a legitimate offer, which he duly accepted and devised a clever strategy to collect on with the help of successful investor and climbing buddy Todd Hoffman.

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Amar Patel

A few words on kindness

by Amar Patel in ,


Candlestick Press has produced several gorgeous poetry anthologies since 2008. Pamphlets designed to be gifted, carried around and cherished for years to come. For always-emerging writers like myself, their themed callouts are great opportunities to gain experience and build confidence.

One of the most recent ones was “kindness”. Although my entry wasn’t selected, I was pleased by how I worked with the constraints of the competition – no more than 16 lines of 10 words at most – while injecting a spritely rhythm along the way. It’s my hop, skip and jump of an appeal to the world. Pass it on…

You can buy the collection here.

Mary & Elizabeth (1929) by Käthe Kollwitz. To learn more about his extraordinary artist, click on the image and listen to Katy Hessel in conversation with Dorothy Price, a specialist in German Expressionism, Weimar Culture and Black British Art

DON’T TAKE MY KINDNESS FOR WEAKNESS (SHE SAID)

 

Or I’ll close up and turn away, all ruthless instead

 

Ever watched frowns become smiles, light piercing the shutter

 

Give thought to another, you’ll make their heart flutter

 

It matters, you know, doing something for nothing

 

What you can, when you can, forget who’s deserving

 

Make the tea or coffee, do someone a favour

 

Hold the door open, flatter a stranger … I dare ya

 

Offer a smile for no reason

 

Bring in the season of less getting even

 

It’s like living by giving till the giving is receiving

 

Start a chain reaction – ka-boom! – seeing is believing

 

Kindness is the currency that never loses its value

 

Can’t afford to spend it? You can’t afford not to!

 

This gift is best shared right out of the blue

 

See good in others? Now there’s good in you too



Amar Patel

Mo money, no problems?

by Amar Patel in


As neither a father nor a spouse, I was curious about what drew me to Fleishman is in Trouble not once but twice. The Hulu Original was adapted from a novel by Taffy Brodesser-Akner, whose NYT profiles of stars such as Val Kilmer have become the effusive gold standard. It appears to centre on pious Dr Toby Fleishman (Jesse Eisenberg) who is struggling to deal with his divorce from Rachel (Claire Danes), a status-obsessed, workaholic talent agent. 

They were a financially secure couple ensconced in a Manhattan milieu where everyone's trying to outdo their 'friends' and compete for the title of most unlikeable or obnoxious. Now Rachel's taken off somewhere (not alone), leaving the kids with Toby who's been tearing through the dating apps like a horny college kid fresh onto campus.

Without giving the game away, and to our surprise having mounted a pile of ill will towards a bad mother, he's not the only Fleishman in trouble. 

Meanwhile, we also meet Toby's college friends Libby (Lizzy Caplan) a housewife who feels unfulfilled as a writer and trapped in suburbia, and eternal bachelor Seth (Adam Brody) who's wiser than he looks and realises he needs to grow up.

Seth (Adam Brody) and Libby (Lizzy Caplan) meet Toby’s (Jesse Eisenberg) new dog

It's easy to reduce this show to tedious self-pitying and coveting by a bunch of self-absorbed rich people. It's like, how much is enough? Do you know the meaning of the word "gratitude"? Do you realise you are the chief architects of your own apparent misery? Lighten up. Let go.

And Lord knows, it's open season on the wealthy as The Menu, The White Lotus, Succession and Triangle of Sadness give us endless opportunities to mock them and relish their downfall. But watch long enough and you realise that privilege does not insulate you from unshakeable feelings of inadequacy and insecurity. They've just got bigger, better treadmills and unattainable goals. Turns out, rich people also do irrational very well. 

The show has a wider sphere of relevance than you realise. Fleishman is in Trouble deftly ponders ageing, the uninhibited and life’s-to-be-written wonder of youth, living with the choices we make and trying to navigate diverging paths in relationships. In the case of Rachel and Libby in particular, it's about dealing with exhaustion with oneself. I found it a useful exercise in empathy, how to see a particular situation from a different perspective, something series creator Brodesser-Akner is acutely aware of as an experienced interviewer. 

The cast really makes us confront their characters, whether provoking sympathy, frustration or revulsion. Eisenberg does awkward and neurotic very well (once again) – he's annoying in a good way. While Danes gets a chance to really stretch out across the series and show her emotional range. Head over to Disney+ and give it/them a chance. Your patience will be rewarded.

I will leave you with this obvious but necessary truth bomb from Rachel Connolly in The Slate: “We will all die, someday. And everyone is getting older all the time. It can feel like there are rules about how you are supposed to spend your time and money, but there aren’t. Only choices, which you can make, or not make. Money can make some practical things easier. But ‘two-nannies-and-a-chauffeur, spring-break-in-St.-Barts’ money isn’t really doing that anymore, is it?”



Amar Patel