I finally caught the Andy Warhol: 15 Minutes Eternal exhibition at the Art/Science Museum last weekend. Presented in a strictly chronological and unapologetically didatic approach, the exhibition served as a well-charted primer to Warhol’s work through the years. There was something magical about viewing his early commercial work, his rudimentary but precisely transferred blotted lines anticipating his impending factory-produced pop art statements. But I found his later works somewhat devoid of that cutting edge, as if he ironically ended up mass producing and reproducing his established aesthetic, almost labouriously. I did, however, find myself mesmerised at the middle of the exhibition by the seemingly never-ending video of the Velvet Underground at rehearsal with not just Nico but also her young son, doing his bit to add to the incessant waves of noise.
That’s perhaps a somewhat contrived, literal, if not roundabout, way of introducing what I’ve happened to be listening to a lot to these days – the clearly Velvets-inspired Dear Eloise and their second album 美丽陌生人 (they’ve written it as Beauty in Strangers in the liner notes, although I feel – despite the unwarranted Madonna comparison – it should be more accurately Beautiful Stranger). The protagonist makes her existentially-challenged appearance in “她从来不” (She Never), defined by the shadow of her absence, a mysteriously powerful force that absorbs the sun and the wind into that nothingness as well. It’s a perfectly ethereal and partly naive storyline that endears to as much as it loses itself in the very consuming noise it invokes. - Dan.