shewhomust: (bibendum)
[personal profile] shewhomust
Lumiere weekend has just passed - the third time Durham has hosted this festival of lights. We enjoyed the 2009 version, and had mixed feelings about the 2011 version (which is not the reason why my post about it was in two parts, part 1 and part 2).

We walked into town on Thursday evening, and then took the car yesterday to visit a couple of the less central installations. But first:

Not part of the show


One of the best things was not, technically, part of the show. There was a magnificent full moon, and it kept edging into shot. Here it is caught up in a tree which seems to be floodlit for no apparent reason (the light should have been behind me at this point, as I had my back to the viaduct which later came out in green and purple lights - but not yet). Mysteriously, this is the most viewed of all the pictures I posted to Flickr.

Guardian Angels


The first actual installation we came to was a flock of brightly coloured watering cans suspended above the North Road roundabout, pouring filaments of fibre optic water onto the grass. It's called 'Guardian Angels' - I don't know why. A little further on, a team of stick figures were storming the frontage of the old Miners' Hall, to musical accompaniment:

Working in a coalmine


The artists' website says "Sound is a mix of old miners songs, coalmine sounds, struggle and strikes voices, and deep basses coming from inside the disco" but while we watched, it was Working in a coalmine, which amused me.

A telephone box in the Market Place had been transformed into an aquarium: I was expecting this to be some sort of representation, but no, through the crowd clustered around it I could see real fish swimming in the pale blue light - if it was an illusion, it was a good one. Then again - but no, I'll get to that later! We were heading for the 'hub', the information point in Millennium Place, but we might as well not have bothered: by the time we reached there, we had already been given maps, and they didn't have any information to add - indeed, [livejournal.com profile] durham_rambler was able to tell the very pleasant young woman on the counter that one installation had been deferred because of high winds: he had picked up an e-mail alert from the local paper, which she knew nothing about. Still, it was a chance to check our watches:

Precisely


'Helvetictoc', projected onto the wall of the library, repeated from Lumiere 2011. We could see the lights projected onto Milburngate House across the river, but walked instead towards Elvet Bridge, past the Prince Bishops' shopping centre where something ingenious had been done with illuminated carried bags strung across the road, past the sign across Saddler Street proclaiming it A PLACE BEYOND BELIEF (which I might have thought an interesting comment on the approach to the cathedral had I not previously seen the same piece behind the Pier Art Gallery on Stromness Harbour), down towards the extraordinary noises coming from Elvet Bridge, which were apparently being made by an elephant:

Elephantastic


Not that we saw this view straight away: approaching from the Market Place, we had a magnificent view of the elephant's backside, as he swung his head to and fro and trumpeted. We had to pass under the arch, below those trampling feet, to see the beast head on - which at least confirmed what we knew had to be the case, that his solidity was an illusion, and what we were seeing was only a flat image.

Four cars were parked outside Old Shire Hall, each filled with artificial flowers and lit from within in a different matching colour: this was called 'Greenhouse Effect' and "asks us to reconsider our reliance on cards and the catastrophic effect this has on the environment." A neon cage outside the County Court probably signified something, too. Elvet Methodist Church looked particularly splendid, its spire pointing up at the moon. We doubled back to Palace Green to watch the son et lumière at the cathedral, which was still as splendid as the first time we saw it, in 2009. By the time it ended, though, we were chilled through, and too weary to join the queue - so we never saw the lights in the cathedral or the frocks in the cloister. Instead, after a brief and bad-tempered detour into the College, we came home.

The plan for this first foray was just to see what we could; on Saturday we chose two locations to visit. The first was El Sol, a cluster of tents laid out in the shape of a treble clef between County Hall and the DLI. We parked at County Hall, and headed for where the trees were glowing green and purple:

Which way to the moon?


The tents were lit from within, and most contained the figure of a musician (well, all right, a cardboard cut-out); you could go inside some of them, and use speaking tubes. I don't know if this affected the music, which was sometimes classic brass band sounds, sometimes demented Swanee whistling - but the children were having a grand time darting in and out of tents waving the glowing wands and wearing the glowing rabbits ears provided by street vendors in town (these were probably tacky, but they were bright and colourful and I liked them). It may have been no more than this ability to wander through the installation that made El Sol my favourite of all we saw.

We relocated to the Science site to see Solar Equation, the world's largest spherical helium balloon (it says here):

Sun and moon


which, well, yes, it was as promised, a very big balloon. I liked it best just glimpsed from the road, its sphere echoed by the circle of an iris projected onto the library wall, the moon poised between them. Proximity didn't add anything.

If I'd done my homework, I might at this point have demanded to go to St Oswald's churchyard and see the illuminated birdhouses (Sarah Blood's 'Sanctuary', a new commission for the festival, which was a large part of its appeal); or I might not. As it was, I turned down [livejournal.com profile] durham_rambler's offer to drop me at the end of the North Road for a second visit to the installations there. Time to go home and eat sausages.

Date: 2013-11-19 12:16 am (UTC)
sovay: (Default)
From: [personal profile] sovay
These are beautiful. Thank you.

I like the scene-stealer moon.

Date: 2013-11-19 09:28 am (UTC)
From: [identity profile] shewhomust.livejournal.com
Busy old moon, unruly - No, wait, that's not right!

Date: 2013-11-19 12:45 am (UTC)
From: [identity profile] gillpolack.livejournal.com
I like several of these. I particularly like the workers swarming up the wall.

It's so fashionable to have light festivals these days!

I still like the Canberra one, but that's because it's very mildly transgressive - it takes public monuments and turns them into playing fields for artists.

Date: 2013-11-19 09:24 am (UTC)
From: [identity profile] shewhomust.livejournal.com
The Canberra one sounds like what I want, something where the artists respond to the place. What actually happens is that the organisers shop among existing projects for something that's vaguely relevant - which is why I was sorry to miss a piece that was newly commissioned (however sceptical I was about the piece itself...).

Date: 2013-11-20 08:22 am (UTC)
From: [identity profile] gillpolack.livejournal.com
It can still be a mixed bag. Most artists respond interestingly to a monumental building that houses a museum of a certain kind, but about one in four don't understand that if their designs are projected onto a building and they don't make sense of this, artistically, then their designs look stupid on a monumental scale. And sometimes artists think "I can do wavy lines that ripple" and some viewers get motion sickness.

Date: 2013-11-20 09:07 am (UTC)
From: [identity profile] shewhomust.livejournal.com
These are the sort of mistakes - about the materials, and how things scale up - which I make: my design work proceeds by tial and error. I assume that professional artists don't make - or at least, don't publish - the same mistakes.

And I am constantly proved wrong.

Date: 2013-11-19 03:35 am (UTC)
From: [identity profile] klwilliams.livejournal.com
Wow. That's very impressive. The calendar I bought at the Cathedral has a picture that must be from a previous festival. It all looks very pretty.

Date: 2013-11-19 09:26 am (UTC)
From: [identity profile] shewhomust.livejournal.com
Yes, they've made good use of pictures of the illuminated cathedral - and deservedly so, it is impressive!

Date: 2013-11-19 08:16 am (UTC)
From: [identity profile] cmcmck.livejournal.com
Nice.

Collier songs? Know more than a few of those.

'Close the coal 'ouse door loov,
There's blood inside and bones inside and bairns inside
So stay outside'................

Date: 2013-11-19 09:27 am (UTC)
From: [identity profile] shewhomust.livejournal.com
"In the words of the old song," as Alex Glasgow heard someone saying on the radio...

Date: 2013-11-20 02:11 am (UTC)
From: [identity profile] desperance.livejournal.com
Coming out of the first showing of Raiders of the Lost Ark, Philippa heard someone say - apparently without irony - "Eee, they don't make films like that any more."

Date: 2013-11-20 09:12 am (UTC)
From: [identity profile] shewhomust.livejournal.com
Heh. "The kind of film they don't make any more" is pretty much the sales pitch for RotLA, isn't it?

Date: 2013-11-19 09:28 am (UTC)
From: [identity profile] durham-rambler.livejournal.com
Close the Coalhouse Door was written by Alex Glasgow. But then you probably knew that, but it's one of those written songs that sounds as if it's always been there.

Date: 2013-11-19 11:15 am (UTC)

Date: 2013-11-19 12:47 pm (UTC)
From: [identity profile] cmcmck.livejournal.com
I did knew that and yes, just occasionally someone comes up with one that sounds that traditional.

The late Stan Rogers was a bit good at it!

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