The Institution as Sanctuary: 2018 Queens International Biennial

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Essye Klempner. Photo: Queens Museum

‘What cordial hours we spent with our guests there, looking out from the terrace into the beautiful and peaceful countryside without suspecting that on the Berchtesgaden mountain directly opposite sat the one man who was to destroy all this!’

-Stefan Zweig, The World of Yesterday

Stefan Zweig and Count Harry Kessler are much on the mind, as before us pass sinister frames of the slow-motion train-wreck: yet another failed utopia, this time of a liberal, borderless world of benign, self-regulating markets. We live now in an environment tinged with xenophobia and fear, increasingly akin to the late Habsburg and Weimar years.

Culture suffers — and flourishes — when madness sets in.

An institution that had a torrid 2018, with the controversial departure of director Laura Raicovich, summarised here and with Raicovich’s response here, has recovered its poise with a focused Queens International biennial that combines formal and material rigour with a commitment to urgent conversations surrounding ecological collapse, the built environment, and of course, identity, the American cause célèbre in perpetuity.

The museum already had a charged history, as seat of the U.N. General Assembly (1946-1950), and site of the Resolution 181 (1947) which partitioned Palestine into Jewish and Arab States. Built in 1937, expanded successively by Rafael Viñoly Architects (1994) and Grimshaw Architects (2013), it is a brooding structure of glass facades amongst massive masonry piers, sort of a cross between the Palais de Tokio (Paris) and the Piazza Augusto Imperatore (Rome). It sits atop a bluff between the vaguely dystopic park of the 1939 World’s Fair and a dual carriageway. Yet the space! Here, work breathes and people flow easily in the generously proportioned, high-ceilinged galleries.

The museum, with almost no permanent collection, is unburdened of a legacy that might otherwise force exhibitions built around art loans and tortured curatorial visions. As an institutional priority, it chooses to engage heavily with a local community that includes families of diverse extraction: East and South Asian, Latin American, East European. Many in these groups live under a shadow of a challenging current political climate, involving deportations and reduced access to public health and nutrition assistance. The boundary between management’s (self-imposed) moral obligation, and its board’s fiduciary obligations to patrons and society-at-large, not to mention potential legal jeopardy arising from well-intentioned political action, led to the Raicovich contretemps. The Museum’s predicament is the more important as it is hardly unique: echoed by cultural institutions elsewhere, say Brazil under the 1960s-1970s dictatorship as well as today, or in the controversy currently enveloping the Volksbühne here in Berlin.

The biennial primarily included artists working in the light-industrial Queens districts of Long Island City and Ridgewood. Sophia Marisa Lucas invited as co-curator Baseera Khan, a New York-based performance artist, to develop a show that, while acknowledging the specific complexities facing the Museum, created a critical dialogue with the (contemporaneous) Carnegie International around the meaning of the word ‘International’ in a time of sprouting biennials. The Queens show, containing forty-three artists, cross-generational and multi- ethnic, can’t be done full justice here, hence this review presents a few highlights.

The exhibition website is itself an artwork created by software artist and writer Ryan Kuo (recent resident of the Museum’s respected Studio Program). It has bios and interviews with the artists, and essentially uses the architecture of the building, as well as the plans created by Exhibitions Manager John Wanzel, as raw material for a dynamic ‘walkthrough’ of the show. Kuo’s site, besides providing a point of engagement for viewers outside New York, explicitly foregrounds the fascinating tension between localised / experienced / architectonic space and online / simulated / flattened space.

Kim Hoeckele (b. 1980) also engaged directly with the building’s architecture. Her work, centrepiece of the 7 October 2018 opening, featured performers who weaved in and out of the galleries and balconies of the Museum, reciting variations of the Homeric epithet ‘rosy-fingered dawn’. The saffron-tinged performance came to a climax in the principal atrium of the museum, under Essye Kempner‘s (b. 1984) suspended azure cyanotype. Kempner’s ecological practice embodies a critique of capitalism’s effect upon the built environment, and the cyanotype itself acts as a record of sorts: at a dinner held in the Museum, each artist was asked to place an object on the emulsion-coated tablecloth. The tablecloth was exposed to the gallery’s natural light at dusk and dawn, creating a photographic imprint of the collected objects and table settings. The suspended fabric, by virtue of its scale and in the context of Kempner’s practice, reminds one of Susan Schüppli’s ‘dirty pictures’: climate-change is leaving a quasi-photographic imprint on the Earth (1).

The large east gallery is one of the most exciting, with Milford Graves’ (b. 1941) collection of exuberant sculptures that allude to his varied interests, including the effect of rhythm on the human heart (related to which he is named on a U.S. patent). Meanwhile, around the corner is the quiet intervention of Slovak artist Peter Kašpar (b. 1983) that poses a minimal plywood sculpture impregnated with fibre-optic red lights, which in turn, are powered by solar panels. In this, and other work, he has questioned systems of knowledge that are commonly accepted as shibboleths in our culture.

Asif Mian (b. 1978) approaches systems from the perspective of surveillance, with a thermal camera in the main atrium observing polypropylene garments, stand-ins for visitors…or migrants, as they are cyclically heated and cooled. Thermal cameras are used on borders and by military drones, and are intensely politicised instruments, as eloquently documented in Richard Mosse’s 2017 show at London’s Barbican. Continuing on this vector of the weaponised Capitalocene, Kanad Chakrabarti (b. 1974) explores how intense consumerism and the military-industrial complex have intertwined into a Gordian knot that is slowly strangling us all. He does this through a video installation that questions the place of the essay-film in a time when smartphones and social media have relegated cinematic collectivity to an elite sport.

In the same gallery, Beatrice Modisett (b. 1985) and Arthur Ou (b. 1974), work with the materiality of the flat image. Ou’s photographs, which re-physicalise ‘filters’ through an archaic process of hand-tinting, are intensely concerned with time, meant as both process- time and as the viewer’s subjective, elastic time. Perceived time and the absorbed viewer have been theorised in connection with both photography and painting, most notably by Michael Fried(2). Modisett’s paintings too are based in process, but here it is the physical flow of paint, under conditions of restraint and constraint, that drive the final outcome. In doing so, she continues to mine the rich tradition, to a certain extent specifically American, of treating paint as a quasi-sculptural medium that, again, at its best, prompts a sense of absorption in the viewer.

One of the potentially most joyous works is itself an exercise in spatialised time, in that it unfolds over the show’s five-month run and over the entire museum. The curator and theoretician Brian Droitcour (b. 1980) and artist Christine Wong Yap (b. 1977) are collecting responses from comment boxes distributed through the galleries, as well as libraries that are sites for the biennial. The responses are disseminated through Instagram and a publication. In doing so, Droitcour and Yap are gently, humorously questioning the professional critic’s stranglehold on received opinion in the Artworld. Often the crowd- sourced reviews are written by children, and thus have a certain freshness of vision that, after all, artists from Picasso onwards have been trying to access. Equally, they appear to want to re-establish the museum as an space for healing and reflection, a resonant goal in post-religious societies (at least from a U.K./European perspective).

This edition of the biennial has also involved the Queens Library network, with installations at the Jamaica Central, Lefrak City, and Flushing branches.  Patrick Killoran (b. 1972) made a barely-noticeable intervention in the library, creating a sight-line of receding voids through a section of emptied book-shelves.  His work raises the question of ‘where’ the ‘artwork’ actually lies – in his view, his grey plywood frames frame the actions of viewers, many of whom are not in the library to see art, as they bend down to peer through nothing, at nothing.  He creates a situation that ‘proposes the useless’ in a space institutionally defined by goals (research, internet access, warmth).  At an spatial-architectural level, his work presents a binary: the library as ‘visible index’ of what it contains.  This is emphatically different from the way books, and information are increasingly accessed, via the web and search engines, which effectively obscure the index behind an algorithm and down-play the lovely serendipity of a wander through the stacks.  Killoran’s work is quiet, possessed of minimal materiality, combined with conceptual tightness, and recalls a certain European  transcendental sensibility very much opposed to the voluptuous, identity-riven and market-orientated flavour current in the New York art scene.

In particular, the Killoran and Droitcour/Yap projects also implicitly take us back to the underlying political/social conditions that the Museum, and to a certain extent, many other cultural institutions find themselves in – in an environment of political threats and intimidation, how do institutions retain theoretical rigour and historical awareness, while avoiding accusations of elitism? How do museums, particularly regional ones, remain relevant for the local, non-specialist communities, who are, after all, tax-payers and voters?  To what extent do they have a critical role, to lean against the prevailing wind, even at institutional risk?  On this note, in any way, presuming to compare a (still) comfortable and safe New York context, with the more-or-less forgotten, yet still deadly, plight of the Occupied Territories, it was a bittersweet thing to read of the Qalandiya International, currently underway in Ramallah and Jerusalem, covered here.

‘Today I have sold my beloved Weimar house. How many memories and how much of my life vanish with it.’

-Count Harry Kessler, The Diaries of a Cosmopolitan 1918-1937

(1) Schüppli, Susan. ‘Dirty Pictures’ in Living Earth Field Notes from the Dark Ecology Project 2014-2016. Eds. Belina, Mirna and Arie, Altena. Amsterdam: Sonic Acts, 2016.

(2) Fried, Michael, Why Photography Matters as Art as Never Before. New Haven: Yale University Press, 2008.

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Kim Hoeckele. Photo: Instagram @guiaer_and_runzhong
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Milford Graves. Photo: Instagram @sculpthead
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Peter Kašpar. Photo: Instagram @peterkaspar
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Asif Mian. Photo: Instagram @doosan_gallery
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Kanad Chakrabarti. Photo: Instagram @ukc10014
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Emmy Catedral, Umber Majeed. Photo: Instagram @notadancingbear
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Brian Droitcour and Christine Wong Yap. Photo: Instagram @thepeoplesguideqi
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Emmy Catedral, ray ferreira, Cullen Washington Jr. Photo: Instagram @notadancingbear
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Beatrice Modisett. Photo: Instagram @jandrewarts

 

Thai Food in Queens

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Decorative vases – these are used to cook rice and certain other dishes. A wicker basket is placed above to steam glutinous (sticky) rice, a staple of Southern Thailand.

One of the jewels in NYC’s food scene is the cluster of Thai restaurants in central Queens, around Jackson Heights and East Elmhurst, at the confluence of the 7 and E/F subway lines. As in other regional centres around the city, whether Flushing (Chinese), or Coney Island (former USSR), there is a culinary infrastructure of markets, dry-goods shops, restaurants, and critically, old ladies keeping the eateries honest.

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Grilled Thai sausage at Zabb

Thai is of particular interest precisely because I’ve found it to be rare in Western cities – Thailand, unlike Vietnam and Cambodia, had a relatively peaceful twentieth-century.  Nor was it substantially colonised. Hence there was less of a diaspora; the exodus that led to the awesome Vietnamese food of Paris, or the widespread, if often dubious, ‘Indian’ food in the UK.  London has only a few decent Thai restaurants.  Som Saa is run by non-Thais, but they, as so often, do a better job of it than natives.  It had a fantastic energy when it was in the chaos of Climpson’s Arch, and I’m looking forward to their permanent digs.  Nahm I never quite felt comfortable in, sweating bullets and hyperventilating always felt wrong in the expensively-bought serenity of Belgravia.

NYC’s Thai food scene hit the big-time with Andy Ricker’s Pok Pok Ny, which has great food.  Personally, the pleasure sort of drops out of it when one sees the crowd – the Brooklyn/Manhattan food-tourism bunch, clutching their iPhones, seeking out the hottest new restaurant on Timeout.

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Zabb: sour bamboo shoot curry with prawns, and a catfish larp

For my money (and it would be a lot cheaper than any of the above), I would head out to Queens.  On a weekday one might see no crackers unimaginatively munching on pad-thai, there are actual Thai families feasting, there are almost entirely Thai staff in the kitchen, often supervised by a portly mama, and when one’s done, there’s the supermarket nearby to pick up kaffir-lime leaves and frozen krachai.

This list is non-exhaustive, both in terms of restaurants and menus.  Pick up David Thompson’s (aforementioned Nahm) Aharn Thai / Thai Food, it will tell more than you ever wanted to know about culture, history, traditions, ingredients, and recipes.  The recipes are quite elaborate and few will follow them precisely, but they are useful as a canonical reference to be modified as ingredients, time, skill, and patience dictate.  Unless otherwise mentioned, Thompson is a principal source of background material below.  The book I actually use to cook is by Vatcharin Bhumichitr – a pragmatic volume that allows for shortcuts (for instance, taking a base red-curry paste, modifying it slightly to emulate other, similar, curry pastes).

Playground (Woodside Ave)

This is pretty awesome – a karaoke bar crossed with Thai restaurant, ironically next to the old Zabb space (below). Food is reliably spicy and a well-heeled Thai clientele, not dis-similar to Khao Kang, albeit a more comfortable space. As of Oct 2017, this feels like one of the top spots in Woodside/Jackson Heights.

Playground in Woodside: a boiled curry of fish, prawns (no coconut milk); and super spicy kua kling (dry minced pork curry) from the south

Zabb Elee  (Woodside Ave, don’t know anything about the Manhattan branch)

[Note Oct 2017: this review hasn’t been updated – but briefly, Zabb received a Michelin star in 2015 but has lost it in 2016, and seems to have changed ownership and name – the food is now merely okay, and mostly Isarn-style (Northeast)]. Isarn food has been trendy for a few years (Pok Pok Ny, Som Saa to some extent).  The region is a plateau of 200m, and critically, near the great Mekong river, snaking along the border with Laos and Cambodia.  Until recently, the land was densely wooded, inaccessible, and rural.  The people of the region are a mix of Khmer and Lao, with the Thai being relative newcomers from the 10th-century.  The land and people were poor, and the food pungent and spicy, so as to better relieve the monotony of white rice.  Unlike the south, glutinous rice and coconuts are not features of the cuisine.  Fermented fish (pla raa), raw minced meat salad (larp), a cornucopia of herbs, and grilling, as opposed to the elaborately cooked curries of Bangkok, are the norm here.

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One of the noodle soups at Zabb with basil, pickled mustard greens, a fish ball I think. On the side is the Lao salad with fermented fish and crabs, and pork rinds.

My favourites on Zabb’s menu: the grilled Thai sausage is superb, redolent of lime leaves and ginger.  The yellow curry with bamboo shoot was awesome – a curry with a base of fermented fish (not that one necessarily can tell, the fishiness has been tempered and balanced as so often in the Thai repertoire), and the delicious aroma of sheets of fresh bamboo shoots.  Bamboo shoots are fiddly to prepare, so this is a great dish to eat out (as is the sausage).  Naamya Pa and Pak Tai were both good.  The Lao Soup was excellent – a darkish broth – very different from the other soups, perhaps meat-based – and, in a pleasant surprise, the chicken version was quite different from the catfish.  A word on Southeast-Asian catfish – I believe these might be from the Mekong river – they are pretty bony, but eventually one works out the structure.  Still, I don’t love them, but they contribute a lot of flavour.

 

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Inside Sake Bar Zabb

On the salad front, there was a sausage of raw and sliced pork sausage with papaya – it was interesting, funnily, though the sliced sausage reminded me of the gross hybrid of pate and baloney meat found in ‘authentic’ Vietnamese sandwiches. In a salad, however, somehow it worked.  The Lao papaya salad with fermented fish and tiny purple preserved crabs was pretty good, but like many papaya salads, too sweet for me personally.  The larp ironically, weren’t my favourite – I prefer to use lime leaves, lemongrass and loads of roasted rice – whereas Zabb’s were closer to Thompson’s canonical, simpler, version.  Having said that, I had the catfish, and chicken, varieties, and both were great.  They also have duck, beef, pork, pork liver, pork ear, crispy pork, and crispy fish – knock yourself out.

Sake Bar Zabb

While at Zabb, or probably on another day, check out the izakaya downstairs.  Unrelated to the Thai restaurant, other than by name, the basement joint was started by a young Thai guy passionate about Japanese food.  He has made a drinking den that could easily fit under the Yurakucho Arches at Tokyo Central.  The Sapporo pitchers are super, as are the crazy, mayonnaise-and-eel sauce drenched rolls.

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Sushi at Sake Bar Zabb

Kitchen 79 (Jackson Heights)

This place, with the most insane nightclub interior, was admirably summed up by Robert Sietsema which I’ll struggle to outdo.  But a bit more on the south of the country: there is a low-lying region near Bangkok and then the thin, hilly, monsoon-ridden Isthmus of Kra.  Tourists may know this area as it is near Phuket and Samui, and it is much less isolated than Isarn.  The people are split between Muslims and Buddhists, and the food has something in common with Malaysia and points to the south, influenced as they are by traders plying the sea-route from India.  Apparently there are also some marginal ethnic communities, such as sea gypsies and pygmies in the dark forests.

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The southern style minced chicken at Kitchen 79. The other dish is Pad Ped Pha Duk, sauteed catfish with Thai aubergine and basil

The food of the south is characterised by use of turmeric, coconut, and sour things like tamarind.  Unlike in the north, fish is much eaten, fresh as well as dried.  Not surprisingly, cardamom, cumin, and ginger figure in the cuisine.

Kitchen 79’s sweet staff freely admit that they mostly cater to non-Thai, given their location in the melting-pot that is Jackson Heights. Yet on weekdays at lunchtime, I see plenty of Thai eating there in little groups.  The menu is forced to span all tastes, but I stuck with the stunning Gaeng Tai Pla curry, a brown curry from the south with vegetables and a base of (possibly fermented) mackerel and prawns.  Another standout dish was the Kao Kling Moo, a southern dry curry paste with ground meat (I had chicken).  This was one of the best Thai dishes I’ve had, ever.  Both dishes are intense and spicy, and are much better shared with others.

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Kitchen 79’s version of a Southern curry with prawns & mackerel. Beside is the superb minced chicken in dry curry paste.
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A curry with catfish, though this one is from Zabb (so Northeastern) rather than Southern Thai (Kitchen 79).

Khao Kang (Woodside)

I’m a bit reluctant to post this one – it is tiny, a caff really.  But it’s possibly the best of the lot, because of the variety on offer.  One can see what’s freshly made that day, and try a few things.  The clientele is almost 100% Thai, and young hip ones at that, but enough oldies come in to assure one that standards are being upheld.  No one speaks English particularly well, which is reassuring.  It was interesting to have reference dishes, such as the bamboo curry at Zabb Elee, here made with fish rather than prawns – I preferred this version frankly.  There is also an astoundingly fishy curry here, seemingly made with fish head, smokily complex, intensely spicy, with either palm hearts or bamboo shoots in it – again, a must try.  I find the eggs with pork belly in sweet brown sauce a perfect foil to the other spicy food, and any time they have vegetables, often simply sauteed with ginger and oyster sauce, I take those as well.

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The serving area at Khao Kang
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Eggs cooked in sweetish brown gravy with pork belly and tofu, redolent of star anise, one of the most subtle dishes at Khao Kang
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Greens with prawns, again a very mild sauce, not much more perhaps than stock and ginger, oyster sauce. The other dish is ground pork with basil.
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Anytime bamboo shoots are available, grab with both hands. These are slivered shoots with prawns. Both Khao Kang and Zabb also make a curry with sheets of shoots, as it were.

Paet Rio (Broadway)

The food is very good here, with lovely service and the place is stylishly decorated.  I don’t have a specific recommendation, but do recall an intensely spicy catfish curry with Thai globe aubergines and green peppercorns.  My fondness for this place comes down to the owner, who ran a tiny takeaway in Hell’s Kitchen called Wondee Siam – this was where I first ate real Thai food in 1997 – before taking rooms in Bangkok’s Oriental Hotel, the doyenne of Asia’s grand hotels.  I understand Wondee has perhaps changed, subject to the forces that are altering much of the formerly-deserted bits of Manhattan, but Paet Rio keeps the fire going, and boy, do you feel the burn….

Eim Khao Mun Khai (Broadway)

In that blessed kilometre of Broadway, with its string of 7 Thai places (at last count), I rate this one for uniqueness.  China’s southernmost province, Hainan, sent traders out all over Southeast Asia.  They brought with them a dish of chicken poached in a stock; rice cooked in the fatty broth of the chicken; the broth served again as a ginger-laden soup.  Often the stock itself incorporates a ‘master stock’, one that has been boiled, clarified, chilled, and re-boiled hundreds of times, until it gets an unparalleled depth of flavour.  Eim Khao Mun Khai serves only one dish, poached chicken on rice with broth on the side.  It was very tasty, even though schmaltz, isn’t really my thing, whether in Yiddish or Hainanese.  I thought their version possibly was a bit lighter than the Singaporean take on the dish…

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Hainan chicken rice

Sugar (Broadway)

This is notable as a grocery for ingredients, as well as a place to buy some prepared food, and particularly, tubs of various curries and dishes, that I happened to have seen at Khao Kang. Possibly they have the same owner.  There are also sweets, if one likes Thai sweets (I’m not a particular fan).  It is also a sort of clearing-house for advertisments, and a youth-club.  One can also get a mortar and pestle, important for making Thai food; note however, this type (terracotta) is only suitable for making soft things like papaya salad.  A curry paste is better made in a granite mortar, best ordered online. The Thai grocery on Woodside Ave near Ayada sells one, but it’s too large, pricey, and feels aimed at the Westerner slumming it in Queens.

Sripraphai and Ayada (Woodside)

I have eaten at both, but to be honest, stuck with the more ‘particular’ places above.  Both are very good, and were pioneers a few years back when there wasn’t that much Thai food in Queens, never mind NYC as a whole.  Now they have become the best known Thai places and are mobbed by brunch-eaters from Manhattan and giggling Midwestern tourists.  Probably weekday lunches are still good.

Arunee Thai (Jackson Heights)

This is supposed to be good, but I had a lunch-special dish there and didn’t particularly rate it.  Perhaps it should be given another chance off the regular menu.

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A must-have to make Thai curry pastes
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My own take on a krachai-infused jungle curry, with pangasius (a type of intensively-farmed catfish available in boneless frozen fillets, inoffensive and utterly tasteless, complementary to most curry-type preparations. From Vietnam. The sauce just behind is lime juice, chili, garlic, and fresh chili – useful to pep up any dish).

Thai Grocery

There are two I know of – one across from Sripraphai and another across from Ayada.  Pok Pok Ny’s Andy Ricker seems to like both.  I prefer the former – a very sweet owner, who took the time to tell me about restaurants in the area, the differences between various ingredients, and seemed to have fair prices.  I picked up pickled mustard greens, lemongrass, and a few odds and ends.  I would stay away from the Chinese supermarkets, if possible, for specific Thai ingredients: the green birds-eye chilis (so called ‘scuds’ by Thompson) were past their best and not remotely spicy, and the frozen galangal was water-logged.  The supermarkets are fine for greens, but I’ve tended to go to Patel Brothers and Subzi Mandi in Jackson Heights – prices are good and stuff is fresh.  Fish, prawns, etc. needless to say should only be bought in Manhattan (Chelsea Market’s The Lobster Place has great things mostly at fair prices, and I’m told the fishmonger Rainbo’s at Essex Street Market is good, at least better than the Chinese one in ESM).

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Thai medicaments, salves, balsams, and tonics at the grocery across from SriPraPhai
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The Thai grocery across from SripPraPhai. The best place for dry, preserved and frozen ingredients. Don’t have greens or fresh fish/meat.

Tauba Auerbach at Paula Cooper: Sexy Glass Meets the Mathematical Sublime

What started as a review of Tauba Auerbach’s current show at Paula Cooper led to the question of how indeed a successful work of art might engage with mathematics – what might be some approaches to visualising abstract and often inaccessible concepts?

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Tauba Auerbach The New Ambidextrous Universe (2014) Source: ICA

Prior to seeing the New York exhibition, I visited the artist’s 2014 show at London’s ICA, The New Ambidextrous Universe.  In London, Tauba Auerbach exhibited about 7 objects, made of plywood, glass, perspex, and powder-coated steel.  The objects, smooth-surfaced and minimal, yet elaborately turned and possibly machine-made, looked sort of like useless furniture.  Formally, they were united by a concern with chirality: some carried a right-handed orientation, others left, while (and here my memory may fail me) a glass piece demonstrated a similar idea through light-polarisation.  Despite, or perhaps because of, the show’s sophisticated intellectual premise, I found myself oddly un-moved by it – there was no punch to the gut.  All I saw was reasonably nicely-made objects on low long plinths, in designer colours – stuff that would look great at Heal’s or an expensive Knightsbridge condo, and definitely looked like what art is supposed to look like.

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Tauba Auerbach The New Ambidextrous Universe (2014) Source: ICA

Reading interviews with the artist, it’s clear that she has a fascination with the idea of maths, and while that undoubtedly finds its way into the work, I felt her pieces added but little to my understanding, or even appreciation, of chirality or of the eponymous book by the late Martin Gardner.

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Tauba Auerbach Projective Instrument (2016) Source: Author’s own image

Her current exhibition, Projective Instrument is also built around a book, this time by an eclectic American architect, Claude Bragdon, whose interests spanned higher-dimensional geometry through to Theosophy.  The exhibition had a number of her trademark objects, made during a glass residency, as well as woven paintings.  These, or similar, paintings unfortunately were displayed to much greater effect, alongside Charlotte Posenenske’s work, in the gorgeous rooms of Indipendenza Roma  (2015).  The Paula Cooper show also featured seductively-coloured paintings made with custom-made implements ‘inscribing patterns derived from chain-maille, fractal curves, and four-dimensional tilings into the paint’ (press release).  At the end of the day, however, they were pretty simple, inoffensive wall decorations that neither illuminated the mathematics nor particularly pushed the boundaries of artistic practice.  Auerbach’s imprint, Diagonal Press, was, if anything, more interesting, showing copies of Bragdon’s book, amongst others.  I couldn’t tell if they were for sale, or if they’re thrown in gratis if one spends (apparently) $150,000 on a painting.

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Tauba Auerbach Projective Instrument (2016) Source: Paula Cooper Gallery
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Tauba Auerbach Projective Instrument (2016) Source: author’s own image of ‘library’ at Paula Cooper Gallery

A second take on maths-in-art comes from Falke Pisano’s rather good show at Hollybush Gardens (London, 2015), entitled The Value in Mathematics.  Pisano’s approach was more cerebral, less apparently infatuated with maths: in fact, there was very little about maths per se.  It was more about the teaching of mathematics, and how the subject is presented in society.  The exhibition consisted of a number of flat works, sculptures, and videos.  The flat works seemed to be unified by descriptive texts or titles on the wall, while the sculptures had in common an open structure, relatively humble or light materials, and open plinths.  For me, the overwhelming aesthetic was that of Modernism, of graphic design from a pre-computer era.  However, on closer viewing, particularly of the prints, the organising principle revealed itself: the various prints described what could be characterised as systems of valuation or exchange.  What animated the exhibition were the videos which, curiously, brought a more human and less conceptual feel to what could have been a cold and information-heavy exhibition.  Only at the end did I read the press release, and worked out the political sub-text of the show: as I understand, it challenges the impression, apparently promulgated by mathematicians, that mathematics is somehow objective and ‘value-free’, whatever that means.  The exhibition proposes that the teaching of mathematics makes it inherently political, context-dependent, and hierarchical.  Whether one thinks Pisano’s particular programme is interesting or not, her handling of the material is deft, a collage of politics and the scientific, woven into a fictional system of thought, perhaps intentionally layered, obscure, even obtuse [1].  I found Pisano much more convincing than Auerbach, where the maths seems just grafted onto a high-end design practice in order, one might surmise, to lend gravitas.  At a presentational level, I liked the fact that Pisano’s show gave the impression that it could only be bought in its entirety, or even if bought piecemeal, the individual works would always be somehow connected to the installation.  Auerbach’s were as distinct art-objects as they come: almost painfully asking to be collected.

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Falke Pisano The Value in Mathematics (2015) Source: Hollybush Gardens
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Falke Pisano The Value in Mathematics (2015) Source: Hollybush Gardens

Having looked at two artists working with maths, I wanted to highlight the counter-example: a mathematician attuned to visual aesthetics.  Thomas Banchoff, a geometer at Brown University, pioneered the use of 3-D computer graphics to explore higher-dimensional geometries.  In the old days, mathematicians used plaster Schilling models, such as those in the Harvard, MIT, or Oxford collections, to visualise complex geometric objects.  Banchoff’s contribution was to use CGI to animate the shapes, allowing the viewer to perceive the model as it unfolds in time and thus form a mental image of what a 4-D object might look like and how it might behave.  I would argue that, by allowing manipulation of the objects, the viewer could ‘fly’ around the shape in a way that simply wasn’t possible before, and intuition could be built directly from the image, rather than being mediated through the symbolic logic of the maths, or the drudgery and expense of finding physical models.  Moreover, the physical models remain in a fixed 3-D configuration, whereas the digital allows for any 3 of the possible 4 (or higher) dimensions to be projected.

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Schilling Model in Harvard’s collection of geometric models. Source: Harvard University

 

However, as Banchoff doesn’t reference the conventions of the Artworld, either by contextualising his images vis a vis Theory or presenting them in an arty way, perhaps he wouldn’t be thought of, nor call himself, a practicing artist [2].  Yet, I feel his works are of far greater profundity than either Auerbach’s superficial approach or Pisano’s valid and interesting, sociological critique.  They marry visual aesthetics with a potential for conceptual or perceptual access to a reality that lies beyond the mere image.

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Real and imaginary parts of the complex exponential function w=e^z. Source: Thomas Banchoff
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Rotation of the Clifford Torus/Hopf Fibration in 4-D. Source: Thomas Banchoff

An artist whose approach parallels Banchoff, while acknowledging, and being acknowledged by, the Artworld, is Manfred Mohr.  Still producing, with recent shows in London (Cubitt Gallery [2015] and Carroll/Fletcher [2016/2014/2012]), he used some of the earliest plotters to produce works on paper, notably a series exploring views of the 4-D cube, a so-called hypercube or tesseract.  Mohr’s work visually has an affinity to Minimalism’s serial tradition, but genealogically is better placed in relation to Concrete Art, particularly artists such as Jeffrey Steele and Anthony Hill.  Mohr’s geometric focus, and a methodical exploration of all combinatorial alternatives, impacts the viewer through its sheer exhaustiveness and perceptual immersion.  Some of his pieces, even more than Banchoff’s, imply the physically-impossible and the infinite.  It is notable that he achieves this without colour, without any quasi-mystical or metaphysical twaddle, and his works are entirely governed by the internal logic of their generative rules.

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Manfred Mohr P-231a (1978). Source: Manfred Mohr

The last, and potentially most interesting approach, is to view maths as an essentially performative practice.  ‘Performative’, a over-used word in art-speak, is utilised in a specific sense here: the act of drawing a picture, handling a plaster model, manipulating a digital model, are ways of understanding, visually and haptically, how a given mathematical concept, for instance a multi-valued complex function, behaves: where are the zeroes, where lie the saddles and branches?  This sense of the term ‘performative’ is taken up in the papers of Xin Wei Sha, a professor in Differential Topology who has sought to look at the practice of mathematics in light of analytical constructs used in art and critical theory.

In my view, what’s interesting about this approach is that it can be seen to break the understanding of a given mathematical problem into three levels: an intuitive grasp of the problem, let’s say the true knowledge; a symbolic quasi-linguistic analysis, such as a proof; and a graphical or haptic ‘feel for the thing’, which I equate with the performative.  The actual drawing, digital image, physical model, blackboard scribbled with equations are residues of a symbolic or performative method.  These physical residues can be put in a book, and indeed, if packaged a certain way and accepted as such by relevant competent judges, can be called art.  But if the primary content of mathematical understanding is fundamentally intuitive, lying somewhere between the visual, the symbolic, and the physical, then it’s likely that a non-mathematician may never really access that content.  Moreover, without facility with these tools, he/she is unlikely to communicate effectively with trained mathematicians operating in a network of peers [3].  The most we can do is ‘poke’ at it, try to access it by manipulating the geometric objects, or, more interestingly, engage in a Wittgenstinian project of ’drawing connections’ between the mathematical objects and the world-at-large.  To the extent these syntheses, these connections, are haunting and unexpected, we judge the success (or lack thereof) of art like Auerbach’s or Pisano’s.

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Walter De Maria Silver Meters and Gold Meters (1976-1977). Source: Prufrock’s Dilemna blog

I end with an analogy to Land Art. Certain artists such as Walter De Maria were concerned with documenting an ungraspable moment in time and space, or in the case of his Dia Beacon pieces, an apparently obvious yet subtle mathematical idea.  Yet in the case of The Lightning Field, the primary aesthetic experience remained in him, and an element of it now invests the few viewers who can actually make it out to New Mexico.  Similarly, Hamish Fulton and Richard Long made their experience, their walks, often in the countryside, the apparent content of their work, accessible substantially to themselves.  The documentation is entirely secondary, from an aesthetic point of view, if not from a financial/re-sale perspective.  It is as if, knowing they can never compete with the immensity of nature, they made minimal, repetitive but exquisitely calculated sculptural gestures: Et in Arcadia ego.

 

1  Fiduccia, Joanna Report: Bullshit ! Calling Out Contemporary Art, MAP Magazine, 1 June 2010, http://mapmagazine.co.uk/8981/report-bullshit-calling-out/ , accessed 23/12/15.

2 See Arthur Danto’s What Art Is (2013) for an introduction to how the late Danto analysed the perennially interesting question of what art is, and the circularity in art’s definition, particularly in the age of the ready-made.

3 Subject obviously to exceptions such as M.C. Escher, and his collaboration with Lionel & Roger Penrose.

David Chang on Tokyo

David Chang, one of New York’s most prolific restauranteurs (the Momofuku stable), writing recently on the food blog/magazine Lucky Peach, waxed lyrically on about Tokyo’s food.  Mostly good, and well-known, points, but a couple of comments are in order.  I’ll excuse the gratuitous expletives and the overuse of the superlative ‘best’…maybe that’s intended for the hipster audience.

His overall point, that Japan (specifically Tokyo) borrows magnificently from other food cultures, and lends out its aspiring chefs on secondment to top restaurants from Yountsville to Modena, is spot on.  But I think the point can be driven deeper – the Japanese have a gift for internalising the culture of other countries, presumably more so in the post-WWII era than before, and to a certain extent, combining that with a highly-developed indigenous culture, to create a synthesis that, in style and quality of execution, isn’t matched anywhere else.  The key words here are ‘internalising’ and ‘indigenous’.  I don’t think they’re just copying the food – the chefs, but perhaps even the kids with crazy outfits in Harajuku, are looking at, and living, the culture, the music, the film, the clothing that they’re interested in, whether it be American, Italian or French.  There is a passion (to use a hackneyed word) and depth to the research that shows through in the simulation, a stage set, that is a Tokyo restaurant.

Equally, this painstaking simulation is not being dumped on a blank substrate – Japanese culture, and food, are obviously immensely developed, and years of low immigration have had the perverse effect of maintaining a certain purity in both cultural practice and practitioners.  Your average person really gets their food culture, they’ve grown up with it, haven’t necessarily seen much else, or have only seen it through a Japanese cultural filter.  So the French, Californian, or Italian food in Tokyo has a distinct Japanese imprint, if only in the attention to detail, the arrangement of the room, the handling of light and space, the exceptional quality of the ingredients (as Chang points out).  Thus, the simulation becomes a simulacrum.

Here I would characterise Chang’s comments on Italian food, if not French, as slightly ignorant and perceptive at the same time.  Italian food does not just have to be pasta, as anyone who has spent time in, say, couscous-laden Trapani (Western Sicily) or rice-growing plains of Po Delta, can attest.  But Italy does have a strong resistance to change, as well as an internal food culture that Italians feel, rightly so, is well worth preserving.  But, here’s the difference with Japan: people, from what I can see without having interviewed hundreds, actually don’t want to eat much imported food. Even outside Italy, while one sees plenty of well-heeled Italians at ethnic street-food stalls in East London, but most Italian tourists pile into Soho’s Princi, which they know from Milan.

Here, in my humble opinion, is the difference with New York and London – two other world cities with very good food.  I would argue that neither America nor England have the same quality of indigenous food, that substrate, that Japan has.  America, as a country so young and foundationally built on immigration, can have no ‘native’ food culture.  So everything in New York is a simulation, for better or for worse.  England perhaps had some interesting food before WWI and WWII, and in the last 20 years, chefs such as Fergus Henderson (St John in Clerkenwell is the best one of his) have done a heroic job resurrecting the old recipes, but again, it’s all (re)created: the average youngish Londoner seems, from my own anecdotal experience, to care more about what he/she drinks and smokes, and where, than the food.  So both New York and London seem to produce copies, more or less acceptable, of foreign food.  But their copies, particularly in London, are mass-produced, soul-less affairs, more reminiscent of an accountant’s spreadsheet, redolent of return-on-equity and price-points, than the work of single mad chef.  New York is a bit better, but again, rising rents, the internet, the phenomenon of food as something one watches on a screen, have taken much of the fun out of the restaurant scene.

There are plenty of exceptions, particularly outside of Manhattan – for instance, Sake Bar Zabb, an simulated izakaya , set in a poorly-ventilated basement in Jackson Heights, a neighbourhood in Queens previously only known for really bad Indian (i.e. Pakistani and Bangladeshi) food sitting in pools of fetid grease.  Curiously, Zabb, which shares the name with an excellent Michelin-starred Thai restaurant upstairs, is run by an enthusiastic Thai man who has sourced hundreds of objects from Japan to create his little sarariman‘s drinking hole, complete with foaming pitchers of Sapporo and squishy raw octopus in grated horseradish.

Moving on to a controversial point, in this most politically-correct of cities: the last difference I would point out between the New York restaurant scene and Tokyo’s, is the makeup of the cooking staff.  Look around any good, but perhaps not top-end, restaurant in much of New York – most of the cooks are Hispanic, with a smattering of Bangladeshis, African-Americans, Chinese, etc. I can’t help thinking that the French or Italian food coming out of those kitchens must, in a majority of cases, necessarily be totally disconnected from the culture and experiences of the cooks making it.  Surely, if food isn’t just something you put in your mouth, and is a cultural or communicative experience, the fact that the person cooking the food hasn’t grown up with it, or at least taken a multi-year deep interest in it, surely must detract from the ‘essence’ of what one is served.

Unless Japan has changed in the 5 years since I last was there, most of the cooks are Japanese, and the Japanese chefs have often spent years in Western kitchens learning about food they’re cooking and the context it exists in.

I’m sure some will object to these comments, but the fact that restauranteurs such as Danny Meyer and Andrew Tarlow are moving over to a no-tip policy could lend some support to my view: the extortionate tips in New York only go to front-of-house staff. This means that the cooks, the people who obviously matter more, are being paid much less than the decorative foliage swanning around the dining room, their fawning equal parts strafottenza and passive-aggression.

I would end by pointing out some of the finest, most interesting, most passionate (again that word) food in New York still comes from the kitchens that are family-run, or at least held firmly within a given ethnic group: the sushi bars (Hibino in LIC is a fave), the absolutely stonking Thai joints in East Elmhurst/Woodside (start with Zabb Elee, Kitchen 79, Khao Kang, & Paet Rio), the filthy but delicious regional Chinese stalls of the Golden Mall in Flushing, or that joyous margarita-meat-and-arepa extravaganza that is the Colombian restaurant Delicias in Woodhaven.

 

 

 

Eating Badly in New York

Since there seem to be plenty of sources to help one find great food in NYC, I thought it might be useful to maintain  a running log of bad meals.  In part, coming from London, one often arrives with an inferiority complex, so I thought I’d test the assumption that food here is generally better than back home.  I mostly avoided the NYT’s higher-rated places, therefore this post focuses on more humble local joints (not necessarily cheap, especially when you include the 23.875-28.875% tax & tip wedge).

I started this 9 December with 3 entries, let’s see how many times I need update it…

Rego Pita (Rego Park): what was advertised as chicken breast sandwich, was nothing like.  Slimy pieces of thigh, possibly under-cooked (or juicy depending on whether you’re making it or fated to eat it), in a lumpen white doughy pita.  A steal at $10 apparently.

Boulevard Bistrot (Harlem): so I asked the waiter what the turkey meatloaf was made of – white meat or dark meat.  He answered, as if to say ‘you’re an idiot for asking such a stupid question’, that ‘well it comes as ground, how do I know whether its white or dark meat?’.  Or maybe he thought I was asking a politically incorrect question.  Anyway, I went ahead and ordered it, and got 2 rather dessicated slabs back, none of the touted wild mushroom gravy in evidence.  The meat itself, whatever went into it, was about 10% gristle, so I guess it was mostly dark meat – from the claw.  Or perhaps, this was soul food interpreted by a Japanese chef – tsukune (chicken meatballs) intentionally have cartilage in them to give them crunch – and they’re delicious. The beans, peas, and ‘tatoes were good, so maybe I was unlucky as the place looked promising and was recommended.  Total cost: $18

Boulevard Bistrot's freeze-dried ground-gristle-loaf garnished with ketchup and mushroom slices
Boulevard Bistrot’s freeze-dried ground-gristle-loaf garnished with ketchup and mushroom slices

Shalimar Diner (Rego Park): this is a bit unfair, as the place is sweet, and I will return.  But, again, the poultry was the culprit: instead of gristly meat, this was zero-texture turkey.  Really quite remarkable, 6 or 7 giant slabs of what could be reconstituted soy protein, on a rather good stuffing, all slathered in some unrecognisable flour paste garnished with liquified turkey-fat – I wouldn’t insult the venerable British white sauce by calling it that.  Again, to be fair, that is pretty much what American turkeys taste like, when I remember back to Thanksgivings as a child – and to some extent I’ve been spoiled by excellent free-range poultry in London – turkey, guinea fowl, and chicken.  Good martinis.  Cost: $18 (?)

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Shalimar’s soy protein roast

Arunee Thai (Jackson Heights): Elmhurst/JH/Woodside are full of Thai places, and this place is a trendy take on the cuisine (flat long stone bar, nice lights, cocktails).  Lunch specials are $8-8.5, and include soup or salad.  I had a rice noodle with chicken and basil, and it wasn’t bad (though with enough fish sauce, soy sauce, garlic and grease, anything can taste passable).  My main issue was that both the noodles and the soup had chicken with a funky smell, like it had been cooked the day before or maybe two, and was slowly being warmed up for  the lunchtime punters by (what looked like a non-Thai) quick-order chef in the back.  On the whole, then, I thought style had trumped the food; instead, go to the lovely Khao Kang canteen on Woodside Ave instead – much more authentic, just as clean, and 100% Thai staff and mostly Thai clients.

Mission Chinese (LES): My basic gripe with Mission is that, for all the hype and queues, it just wasn’t that impressive, and more specifically, smothered with enough salt for the passage to hell and back.  It was perhaps unfortunate that I had eaten at the Mission pop-up on Bond Street a couple years back, and thus had something to compare to.  And perhaps lunch for one isn’t where the menu shines.  But still, you gotta have standards: I ordered the fried rice, beef dumplings, mapodofu, and celery dish.  The fried rice was fine, but unexceptional – for all the artisanal smoked bluefish in it, it was a refined Chinese takeaway staple.  Pock-marked Mother’s Chen’s tofu was pretty decent, but lacking in the Sichuan peppercorns which is, somewhat the raison d’etre of Sichuan food – and if the late lamented Grand Sichuan (on the Northern approach to the Manhattan Bridge) used far too much, this had practically none.  No notable trace of chili either – so perhaps it was  toned-down for the Midwestern palate that famously is part of Danny Bowien’s shtick.  The beef dumplings were mush – so whatever shin, tail or ear they used, they definitely cooked it to the consistency of gelatin.  The broth had a scent of dill, which I suppose is a conceptual nod to Ashkenazi-Jewish dumplings, but let’s just say no one, other than third-tier New York food writers, rushes to acclaim that food as a culinary paragon – and this version wasn’t particularly nice.  The celery with hazelnuts sounded interesting, and wasn’t a bad start.  Then, somewhere between the rice and the celery, I started hitting clusters of salt, and nothing was the same after.  Overall – Bowien had, at one time, a good concept, and remains a great showman.  Most importantly, the food was good when it was a scrappy, small, cult operation.  Now, with copious financial backing, and the pressures of being on the painfully trendy LES with its hordes of identikit entry-level office workers in Canada Goose coats, seem to have sapped quality and invention in his kitchen.

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Oh I forgot to mention the idiotic website: a screenshot of a 1st gen web-browser that is ‘oh so..like retro…awesome!‘.  Any click, say on the ‘Girl Skateboards’ link takes the hapless viewer to something called Reserve.  Reserve is an app, seemingly entirely in champagne for the inhibited rapper in you, that has to be downloaded.  It is the only way to book at the restaurant.  It might even require the bill to be settled on the app, and only Bowien the God knows what data it collects.  I wandered in off the street, as did the next table, but I’m sure the Canada Goose crowd has Reserve downloaded to their Fitbits, so no trouble there.

One good thing – the white wine – a Portuguese Moscatel was fab.