Of all the distinctive ways that street life is enlivened in Santiago, the most artistically enticing concerns the city’s myriad cast-iron-supported wooden benches. For the past decade, art dealers have been commissioning local artists — a dash of the internationally known, a smattering of the well-established, and many neither– to choose a bench and do their thing. The program spread from a single commissioning gallery on a single street to many benches spread through three neighborhoods. You may now set down your derrière and lounge on works of art in the city center, Las Condes, and Vitacura.
Some artists have adopted the shout-it-out, Peter Max approach, indulging themselves in the wavy shapes, lilting lines, and acid-inspired colors that also recalled Hans Eidelmann’s 1968 Yellow Submarine album cover for the Beatles. My favorite was the quintipartite-structured composition enlivened with flat, child-like images of faces and hands, and inscribed with awkward script that exhorted: nada mas noble que VIVE HOY (nothing more noble than to live today). Words which, if lived by, forfend the kind of melancholy perseveration that destroys too many people’s days.
Animals and insects appeared repeatedly, sometimes diaristically (as in “Oh my gawd, don’t you think my wonderful dog is SO cute!!”), but more often than not, artistically. Whatever that Alice-in-Wonderland insect is on the left, I like it. The bench on the right elicited thoughts of a well-painted detail from a historic Japanese landscape.
In several instances, folk art provided inspiration.
My favorites, I suspect predictably, were mainly abstract, though the bottom right bench does hearken back to the ever-popular dog motif.
And the absolute, all-time winner, with its allusions to earth, horizon, sky, and water, its hasty, indecipherable script, and its slightly skewed perspective, almost a quirky modern riff on a scene by Piero della Francesca:
In all, these benches rarely failed to delight and give pause, prompting me to muse, yet again, on the potential for cities to offer moments of vitality by aesthetically enriching even the humblest of public places.
I could show many more, but then, that might discourage you from heading off to see and enjoy them for yourself.
— Sarah
The exception was Casablanca, but Fez, people tell me, confers this impression with even greater intensity. In its sense of arrested time, Morocco felt very different from other developing societies I’ve encountered. Take India. In India, people’s lives are saturated with tradition, but they do not, or at least did not appear to me to reject modernity. In some of Morocco’s most distant reaches, people seem only dimly aware that modern societies even exist. What are they watching on satellite TV?
Sometimes, in larger buildings, internal rooms with tiny windows butt up onto rooms opening onto subcourtyards with skylit roofs.
Spatial organization, spatial sequences – all are straightforward, even banal. (If the site varies topographically, sometimes there’s a little more action, as in the palace at Telouet.) So the colorful, intricate patterns constitute the only means of arresting our visual interest — or, to invert the formulation, to compensate for the lack of design complexity.
In no place we visited did that differ.
Coordinating Goldhagens 