魅蓝艺术墙 The Wall at Glam 将再次与 Suzhou Cobblers 合作，设计师兼店主黄梦琦以杜可风为魅蓝创作的艺术装置为灵感，制作出一系列限量新品鞋包。本次展览的揭幕派对将于11月9日晚举办，敬请期待。

After a massively successful collaboration with Suzhou Cobblers in 2016, we are thrilled that Denise Huang is joining us again with another exciting range of limited edition shoes & bags inspired by one of Glams  favourites, Christopher Doyle. The Wall at Glam will display Suzhou Cobblers creative designs until the end of this year.

设计灵感 | Design Inspiration

时常想起电影《花样年华》里的场景，那些涌动的光影和扑朔迷离的美至今无法忘怀。有这样一个机会，可以将《花样年华》的摄影师杜可风（Christopher Doyle）的艺术作品融入到我自己的设计，当然是很荣幸的，并非常乐意接受这个有趣的挑战。

反反复复地参看他为魅蓝GLAM制作的一系列艺术拼贴画，就如同与他在对话般，我说：“您可真幽默，美女的云发被你换成了油亮的青口贝，旗袍缝隙间露出的竟是一盘令人垂涎欲滴的蔬菜色拉。”我是有点明白了你的意图，所以接下来就看我的吧。作为手工鞋、面料、灯笼、饰品设计师的我，会用本人独特的方式来制作完成这次魅蓝艺术墙的设计。美女、美食，将会怎样展现在大家的眼前呢？敬请期待11月9日举办的魅蓝艺术墙揭幕酒会！

Perhaps best known for his work on films like “In the Mood for Love,” artist and cinematographer, Christopher Doyle, has been an inspiration for Suzhou Cobblers designs for many years. When GLAM offered me the chance to incorporate his work into designs for my handbags and shoes, I jumped at the opportunity. It is an honor and a pleasure to embrace this challenge.

The Glam Girls that welcome guests at the entrance are at once beautiful and whimsical. A gorgeous lady’s hair is replaced with mussels; a Qipao is filled out by a salad of vegetables. Such rich and colorful imagery creates a world of possibility… one I look forward to sharing with everyone at the opening party on November

产品面料 | Product Material

本次魅蓝艺术墙展示的手工鞋及手包所使用的面料非常独特，全都由Waste2Wear特制。Waste2Wear是一家专业制作环保面料的公司，其产品制作的原材料都源于废旧塑料瓶。

The hand-made shoes and handbags displayed on ‘The Wall at Glam’ are very unique and all specially produced with material by Waste2Wear. Shanghai-based Waste2Wear makes environmentally friendly fabrics from plastic bottles. https://www.waste2wear.com/news

快闪店 | Suzhou Cobblers x Glam Girls Pop Up 

魅蓝艺术墙揭幕酒会当日，Suzhou Cobblers会在魅蓝的私人包厢内设置快闪店，大家将有机会直接购买限量款鞋包。

We will set up a small pop-up shop in our glamorous private room & will be selling a limited supply of the bags and shoes from this line. We look forward to seeing you all at the launch party, if you don’t come you might just miss out!

 

Denise HUANG Meng Qi 黃夢琦

上海设计师黄梦琦将她家乡的时髦元素巧妙地融入了她设计的刺绣鞋品、手包、及服饰衣帽中。

Shanghai-born designer Denise Huang produces Chinese slippers, shoes, handbags, hats and clothing that recall her hometown’s stylish roots.

Suzhou Cobblers

上海市福州路17号101室

17 Fuzhou Road, Shanghai

Tel: +8621 6321 7087

SHOWROOM HOURS 

Everyday 10:00am – 6:30pm

www.suzhou-cobblers.com

– Photo by Gràinne Quinlan

Mozart, Shostakovich and the two Joe’s

The relationships between composers and heads of government has a long, rich history.  Monteverdi had a string of royal patrons as did Bach whose supporters included  Frederick the Great.  Haydn had his Prince Nikolaus Esterhazy for whose family he served as Musical Director (Kapellmeister) for almost 30 years. The relationship between Wagner and the “Mad” King Ludwig II of Bavaria has been celebrated in film. Perhaps no two composers had more contrasting relationships with their sovereign leaders–both ironically named Joseph–than Wolfgang Amadeus Mozart and Dimitri Shoshtakovich whose works we will hear on Sunday, November 25th.

Mozart actively sought out a relationship with Emperor Joseph II of Austria who was known as the “Musical King” due to his modest musical gifts and valuable patronage of the arts.  The twenty-five year-old Mozart wrote to his father in 1781, “My main goal right now is to meet the emperor in some agreeable fashion, I am absolutely determined he should get to know me. I would be so happy if I could whip through my opera for him and then play a fugue or two, for that’s what he likes.”  Mozart did meet the emperor the later that year and was afforded various degrees of patronage over the next nine years or so.  This support was despite the fact that Joseph found Mozart’s music a bit to showy for his taste, the emperor preferring a plainer style that he associated with German music. However Mozart was of assistance to Joseph as well.  One of the emperor’s many reforms was to cement German as the official language of the empire.  To Joseph’s delight, Mozart wrote two operas, The Abduction at the Seraglio and The Magic Flute with German libretti instead of Italian, the more usual choice for the time.

In contrast, Shostakovich faced imminent imprisonment, or even execution, twice in his long cat-and-mouse drama with Joseph Stalin.  Like Adolph Hitler at the other end of the political spectrum, Stalin despised modernist music and was determined to force composers to write music that was easy to understand by the proletariat and which upheld socialist values.  Shostakovich’s earlier music that often exhibited sharp dissonances and a sardonic wit was a clear target.  In 1936 at the beginning of the era called the Terror when many out of favor public figures were imprisoned or killed by the state, Stalin walked out, clearly unhappy after a performance of Shostakovich’s operatic masterpiece Lady Macbeth of the Mtsensk District.  Afterwards the composer was mercilessly criticized in the Soviet press which accused him of “formalism” or adopting the forms of established Western music.

Feeling that the upcoming premier of his Fourth Symphony would seal his fate, Shoshakovich cancelled the performance.  It is widely felt that this act likely saved his life.

Shostakovich slowly returned to favor during the War, but again in 1948 Shostakovich and many other Russian composers including Prokofiev were accused of writing non-Russian, Western influenced “formalist” music.   Most of Shostakovich’s works were consequently banned from performance with the government withdrawing his family privileges and financial support.  So certain was Shostakovich of arrest that he he would spend the night on the landing by the elevator, so that at least his family would not be disturbed.  The composer was forced to write blatantly patriotic pieces like the cantata, Song of the Forests, which praised Stalin as the “great gardener”. Only after Stalin’s death in 1953 did Shostakovich find a degree of stability, but the successive political ordeals seemed to have left permanent emotional scars on the composer.

On November 25th we will hear two masterpieces by Mozart and Shostakovich.  From Mozart we will hear his String Quartet number 14, also called “The Hunt”, and dedicated to one of his idols,  Joseph Haydn.  We will hear Shostakovich’s ninth String Quartet written in 1964 and dedicated to his third wife Irina Antonovna whom he married in 1962.

This magnificent music will be played by the young, award-winning Gallant Quartet fresh from their third place finish in the Shanghai Chamber Music Competition last May, and more recently, second place winners of the Schoenfeld International Competition in July.  Come and hear this dynamic young ensemble play at a technical and artistic level far above their years.

For this performance we are delighted to have M Talks as co-hosts!  We look forward to adding many new chamber music lovers to our ranks!

As always I encourage pre-listening to better appreciate the live performance:

For the Mozart:

https://www.youtube.com/watch?v=pYTuXWxNhxo

For Shostakovich:

https://www.youtube.com/watch?v=PcwvCmu34Xw

See you on November 25th at 4:00pm at Glam!

Bob Martin

 

Event detail:

Where: Glam, No.5 The Bund (corner of Guangdong Lu) 广东路20号（外滩5号）7楼
When: 25th Nov 2018 – 4 pm
Tickets: 180 RMB/85 RMB

Organizing the Myriad Beings. From traditional knowledge about plants to the science of botany in China.

 

Nicholas K. Menzies
The Huntington Library, Art Collections and Botanical Gardens, San Marino, California.

In the 1960s, Joseph Needham asked why China, after being at the forefront of science until perhaps the early Ming dynasty, apparently later fell so far behind the west.  ‘Organizing the Myriad Beings’ looks at Needham’s question through the story of how traditional knowledge of plants in China gave way to scientific botany over a period of about a hundred years between 1850 – 1950. ‘Organizing the Myriad Beings’ traces the history of one species in particular, the camellia, to illustrate what made scientific botany different from traditional knowledge about plants. It tells how early botanists in China found themselves moving between alternative ways of observing, classifying and describing the world at a time of profound political and cultural change. Their story encourages us to reflect about the different ways in which people make sense of the diversity of “the myriad beings” in the natural world that surrounds us.

Event detail:

Where: Glam, No.5 The Bund (corner of Guangdong Lu) 广东路20号（外滩5号）7楼
When: 1st Dec 2018 – 4 pm
Tickets: 100 RMB/50 RMB