The Design Museum’s Imaginary Moscow exhibition recalls a lot of points from the Royal Academy’s Revolutionary Art exhibition that I’d attended the week before; suprematist inkwells, ‘Those who do not work do not eat’ porcelain or the film of the destruction of Moscow’s cathedral to build the Palace of the Soviets (although the film of the freezing cold swimming pool Brezhnvev converted the aborted construction project into is new). A suprematist children’s book featuring the adventures of two squares is also something of a novelty.
This exhibition dwells on unbuilt aspects of Moscow; the Palace itself (including a fullsize model of the finger from the Lenin statue), designs for Lenin’s mausoleum, the Lenin institute, communal housing and government buildings. Architectural blueprints from Lissitzky and Melnikov are punctuated by suprematist drawings from Popova and propaganda posters. Leonidov’s Lenin Institute and Lissitzy’s Cloud Iron designs are utopian gravity-defying designs that would be challenging now, while Vesnin’s Commissariat of Heavy Industry and Iofan’s Palace are much more similar to buildings that were actually constructed at the time (in concept if not in scale). The designs for Lenin’s Mausoleum are rather more fantastical given that many of those submitting designs worked in professions like carpentry; in one such concept Lenin is precariously balanced on top of a large globe surmounting the building. A film showing all of the planned construction in Moscow sits alongside Aelita Queen of Mars, and much of it does indeed look like a set of model for a science fiction film.
Afterwards, I walk round Holland Park, looking at the lovely Kyoto and Dutch gardens; the waters in the pond are perfectly clear and carp can be seen swimmingly lazily about below. I also run into a squirrel and encounter a peacock before walking down the Thames to Albert Bridge and then back to Victoria.
The following week I go to the Tate’s Queer British Art exhibition. As one might surmise the interest is as much in a social history than in art; items include the fatal calling card from the Marquess of Queensbury (unsurprisingly his handwriting was as terrible as his spelling), physique magazines, Wilde’s cell door, stills from Victim, Noel Coward’s dressing gown, a copy of the Wolfenden report and (most entertainingly) a set of over two hundred buttons collected as trophies from guardsman a gay couple had slept with. Much of the exhibition dwells on theatreland and music hall; there are probably few exhibitions where photos of historical drag acts sit alongside the Bloomsbury Group.
The exhibition begins in the Victorian period with Simeon Solomon, Edward Leighton and Henry Scott Tuke; I’d previously been unaware that Evelyn de Morgan’s relationship with Jane Hales is often interpreted as like that of Rossetti and Elizabeth Siddal, with Jane’s face recurring on paintings like that of Aurora, shown here. Interpretation plays greatly here; if Meteyard’s painting of Love in Bondage was not intended as an allegory of forbidden love, it gains that interpretation by the association of its context here. Equally, figures like Semele and Endymion take on a same-sex aspect purely due to Solomon’s androgynous rendering (which is not intrinsically all that different to someone like Burne Jones) rather than by the specific subject matter. Even so, it’s often a rather mournful section; a Solomon drawing shows a male bridegroom holding the hand of his melancholy lover behind his back as he embraces his bride. A cup is dedicated ‘on the mournful occasion of his transition into matrimony.’
In a lot of cases, the gay element is the subject rather than the artist; the next room features paintings of Edward Carpenter and Havelock Ellis along with a series of beautifully elaborate miniatures designed for a lesbian couple (one of the many reminders that while figures like Solomon and Wilde loom large so many people quietly lived, loved and passed away unremarked). Two portraits of Radclyffe Hall and Oscar Wilde stand near one another. Both are dressed similarly but where the Wilde portrait is a full length depiction of a confident and successful man (auctioned after his disgrace), Hall’s is more emphatic. She looks away from the viewer and her expression is somber. Much of the exhibits are much defiantly pagan; Beardsley’s Yellow Book illustrations, Cecil Beaton’s glittering photos of figures like Stephen Tennant through to Duncan Grant’s paintings of bathers. A painting of Laura Knight painting a female nude is another example of the layers of meaning being accrued to a work rather than something inherent in it, in contrast to the more explicit intention behind a similar nude by Dora Carrington.
I’m surprised to see examples of Halliwell and Orton’s legendary defaced library books and equally surprised by how funny they are; there’s also one of Halliwell’s paintings. For all his reputation as an artistic failure, it’s rather good. Finally, the later sections are taken by with Hockney and Bacon alongside less well known artists like Keith Vaughan, John Minton and John Craxton. The Minton paintings particularly interest me; I also like some of John Deakin’s photographs of London’s gay scene, from Francis Bacon to a woman dressed as a drag queen, Afterwards, I go to the David Gwinnutt photos at the National Portrait Gallery, extending the same theme into the eighties. I also note one of Grayson’s Perry’s drawings; Map of Days. It uses a medieval town map as a model for mental states, including pastiches of a range of architectural styles. Not sure I’ve liked all of Perry’s work, but I like this.
Corbet’s Childhood of a Leader is something of an oddity; an attempt at depicting the childhood of a future fascist leader during the drafting of the Versailles treaty. Some of the incidents used echo actual events (Mussolini would throw stones at a church in his childhood just like his proxy here) but the comfortably bourgeois background as the son of an establishment diplomat looks little like those of Hitler, Stalin or Mussolini, who all came from rather more lower class milieu. The abstraction is something of a problem; it doesn’t really tell us much about the likes of Franco or Mosley and doesn’t really seem to apply well to contemporary demagogues either; it would work as well as a frame for a serial killer film as for the purposes devised for it here. The film intends to show how power changes depending on the social status involved, with this being paralleled to the peace conference; the sacking of an elderly servant forming one of the key events. Nonetheless, the film mostly stresses the personality traits that go into the development of such a mentality and decentres social or economic elements (perhaps this is rather welcome given the contemporary tendency to stress the former above all else). The film is loosely based on a Sartre story showing such a scenario in Freudian terms; The boy’s infatuation with his tutor turns to anger when he discovers her alone with his father; the plot does deviate from the straightforward Freudian line when his conspiracy against both of them to end in an act of violence against his mother whose absence had previously given him nightmares. The child’s feminine appearance is often commented on (with the boy’s long hair he looks a lot like Bjorn Anderson in the film of Death in Venice). The use of the same actor to depict both a family friend and the adult dictator (this time with his hair entirely cropped) further suggests the issue of paternity is complicated.