We can a certain amount of repetition in 2022. Xi Jinping will be re-elected for the third time, and nationalism, in all its manifestations, shows no sign of going away.
The Year of the Ox. According to Chinese astrology, as well as others, our destiny is directly related to the position of the planets at the time of our birth. Chinese astrologers, observing the orbit of Jupiter around the sun, divided it into 12 sections, corresponding to 12 years, each named after an animal.
In his magnificent Vermeer´s Hat, sinologist Timothy Brook (Chinese name 卜正民) has produced an impressive and unusual piece of research work: has chosen not to focus on the beauty and technical perfection of Vermeer’s paintings, nor his mysterious personal life, nor why one of the greatest painters ever was only recognized two centuries after his death—thanks largely to 19th century French art critic Théophile Thoré. Instead, Brook has produced a meticulous analysis of the objects that appear in five of his paintings, to show us the importance of international trade in the seventeenth century between China and the West, and particularly, Vermeer’s home town of Delft, which played a hitherto largely unknown role until recently.
The first thing Brook does is to challenge the way we look at paintings, telling us to stop seeing them as windows to other times and places. “Chief among these habits is a tendency to regard paintings as windows opening directly onto another time and place. It is a beguiling illusion to think that Vermeer’s paintings are images directly taken from life in XVII century Delft. Paintings are not “taken”, like photographs; they are “made”, carefully and deliberately, and not show an objective reality so much as to present a particular scenario,” argues Brook. Through a careful analysis of these scenarios, Brook creates a map of the world of the time.
With the future of international trade, and particularly with China, a hot topic, Vermeer’s Hat offers a highly stimulating and cosmopolitan perspective of the world.
How Berlin East Side Gallery graffiti can help to speed up our de-donkeyfication process.
During a visit this weekend to Berlin, I was hoping to continue with my plan (Inhshallah) to write about the Chinatowns I come across during my travels, but there isn’t one in the German capital: the best-laid plans… The closest Berlin comes to a Chinatown is in Kantstrasse, in Charlottenburg, but in reality, Berlin is a graffiti town. Wherever you go, you’ll find a wall or some corner that’s been painted.
I’ve chosen these graffiti from the East Gallery, painted on one of the last remaining stretches of the Berlin Wall along Warschauer Strasse in Kreuzberg, both for their message and their esthetic. If I had to choose one in particular, I’d go for The Persistence of Ignorance, which sadly is the worst photograph, because I’m not such a great photographer, and so part of the graffito is missing. Ignorance manifests itself in so many ways: as lack of knowledge or ability.
As is well known, we come into this world as donkeys, and it is only after a great deal of hard work that education de-donkeys us. It’s a long process, as summed up by the Chinese proverb Live to be old, learn until you are old (活到老, 学到老 huó dào lǎo, xué dào lǎo. Also see The civilizing influence of Lady Gaga).
In short, de-donkeyfication takes a long time; there are few walls as big as the wall of ignorance, although there are many other walls that need to be knocked down, as another of these graffiti points out.
French street artist Combo has become a symbol of diversity, celebrating co-existence and encouraging us to “Fear no one, fear nothing”. He has plastered Hong Kong with Google advertisements banned in China and been beaten up while at work in Paris, but undeterred, he continues to spread his message.