We started at the Lowry on Saturday — arriving in Media City. My partner argues it should be pronounced Mediacity, which does better reflect how shiny it is, how empty and windswept yet expensive, how soulless though it has gone a half-hearted length trying for soul. A few families gave it some life, some heart. But it feels alien from the vantage point of the estates that lie near it:
And honestly, how dared they name the outlet mall after one of my favourite painters known for his incredible street scenes full of workers, children, dogs and cats, sympathetic views of all of us with all of our deformities and sadnesses and tired loneliness showing. Against a great backdrop of factories. One of the great painters of the working classes, the misfits, the outcasts. What I found most poignant was that he painted what would soon be lost. Preserved memories of a city being demolished around him. Like St Simon’s church here:
And now here he is in the ruins of the lively docks. I wish I had seen his pictures in the old Salford Art Gallery. First public library in the whole of the UK. I could see why some were upset when they moved them, though inside the new gallery the space is lovely. But honestly, the mall.
But this post isn’t about Lowry, not this one. (For more on Lowry you should read Mark Bould’s amazing post here.) It’s about some of the landscapes and the factories as they appear now. Nothing at Mediacity called for a photograph somehow, not even by its ugliness. It’s just bland despite its bling, built for consumption and status. Uncomfortable. Cold.
I love water, and yet the water along these old Salford Quays was nowhere inviting or picturesque until we left the regenerated area behind us. I loved the canal, however, the vibrance of the graffiti down alongside it. The exuberance of colour and character. Educational too, as I learned all about David Icke and his belief that we were being invaded by lizard people from outer space. Then there was the kid who walked past us with a backpack disguised as Captain America’s shield.
But regeneration was everywhere — in the great banks of painfully plain boxy buildings that could be either offices or ‘luxury’ apartments, in the old factories still beautiful and tastefully renovated, but swallowed up by the cheap new build. In the still empty lots strewn with rubbish and the poverty looking even dingier. This regeneration sat strange and isolated alongside the asphalted motorway, the wreckage of earlier decades that tore down neighbourhoods to build roads of great size funneling speeding cars past with a roaring and a coughing of fumes. Much of this walk was experienced as the city planners’ great fuck you to the pedestrian. I wondered who had thought a sign welcoming the driver to Manchester in a desolate traffic circle might be a good idea, especially alongside the changing neon sign that carried advertisements for Sky News followed by a notice in small font that the city was working to end homelessness.
Seems like there are more people sleeping rough every evening I walk through the streets.
Still we found pockets of awesomeness, a sense of the past. A reminder that more existed in life, in our humanity.
Everywhere these contrasts. Click any photo below and it will take you to a slide show…
I loved Katowice. You will not be surprised after I confess my love of street art, of contrast, of things that are not pinned down in their disinfected cleanliness and their frozen historicities and false fronts but that are in various stages of subsiding or becoming. I find these places full of possibility. Palimpsests of all that has been, visible in crumblings and peeling paint, all that could be in the fanciful newness and bright colour, growth made possible through the crumbling itself. Above all an opportunity for imagination.
The strange feeling that something, something had happened here behind this door.
The how-on-earth of a caravan behind another door of faded magnificence:
The courtyards that lie behind each arch — spaces full of corners, the unseen. Spaces allowed to retain a fullness of mystery and hints of green spaces.
It is mystery, perhaps, that I loved most. Not knowing what lies around those corners. Modern constructions leave no spaces unseen like this, never frame space so beautifully, never encourage. exploration in this way, and definitely do not age with such fascination.
Unless, of course, modern constructions are built in contrast to the older forms. Then they startle, provide difference. I confess I quite love these towers, their geometries, their thoughtfulness in granting all tenants views and light. I only wish they were a little closer, instead of isolating residents away from the movement and life of the city.
Here too, just as in its deeply contrasted satellites Nikiszowiec and Giszowiec, the central mines hovers above and between buildings, filling the view with the memory of the coal that helped bring it to life.
There is also the great wide center, full of people, buildings representing a different kind of glass-and-steel modernity contrasting with these older streets, and a working public transportation system. I actually like this center as it sits in contrast to other things. I imagine, however, it might be a bit arctic in winter.
Beauty and humour abounds here, and it is vibrant with life.
A little more of the art & design that I loved:
More posts on Poland:
For all the efforts of Haussman to strip much of the mystery away from Paris, getting rid of narrow crooked streets and old buildings, protest through art could be found everywhere. Especially once we learned better where to look (mostly up — if I had another day in Paris, I would follow the little octopi things wherever they led).
Perhaps so many exist because of Haussman, because of beautiful uniformity.
Swim magnetic fish…
and of course, jellyfish, breeding exponentially due to global warming…
And the ubiquitous tribe of Froctopthulhu — this is a particularly clear specimen
but they lurk high on corners everywhere, and like cuttlefish have been known to disguise their appearance:
Frida Kahlo is an amazing figure, and has become an icon of feminism and revolution… so a quick review? Born in 1907 as Magdalena Carmen Frida Kahlo y Calderon in Coyoacan on the outskirts of Mexico City, she was 3 when the Mexican Revolution broke out. She suffered from polio, and then had her body almost entirely broken in an collision between trolley and a bus. She wrote “Feet, what do I need you for when I have wings to fly?” Yet she lived her life in almost constant pain, of body and I think mind, you can see it in her paintings…
She married muralist Diego Rivera, and they had an incredibly stormy marriage of passion and mutual infidelity, with Frida a lover of both men and women. Of him she said “There have been two great accidents in my life. One was the trolley, and the other was Diego. Diego was by far the worst.” Their politics were radical, and I think almost everyone knows that Trotsky stayed with them after he left Europe for Mexico. They are a couple found everywhere on LA’s streets
The above is off of Glendale just round the corner from my house, one of Diego Rivera’s most inconographic images alongside Frida’s… her face.
During her lifetime, Frida was too often known simply as Diego Rivera’s wife, but she has come into her own, and her face is found everywhere.
I found these three images of her in one day of biking the city to a distant meeting and back, the above is on Venice Blvd, and below on Pico (though the city has painted over almost all of the graf on Pico…sadness! Still, I’m glad they left this one)
My favourite I think. It is nice to look up and suddenly see her…there are many more of course. And the quote I’d like to leave off with, having known the feeling?
“They are so damn ‘intellectual’ and rotten that I can’t stand them anymore….I [would] rather sit on the floor in the market of Toluca and sell tortillas, than have anything to do with those ‘artistic’ bitches of Paris.” [on Andre Breton and the European surrealists]