
Peter Doherty: Felt Better Alive review — charming poetry and silliness
• Peter Doherty interview: 'I can't wear normal shoes at the moment'
'I tiptoed around gravestones digging up old songs, felt better, oh my,' he sings over a haunted fairground rhythm on Felt Better Alive, one of a handful of songs in which Doherty addresses his life's calling as a salvation from himself. With its elegant strings and bright melody, Pot of Gold starts out as a seemingly innocent lullaby to his daughter, before Doherty reveals more venal intentions. 'If that lullaby is a hit, dad can buy you loads of cool shit,' he sings, also suggesting that if his child is silent for a few moments more, he can write 'the kind of thing they pay millions for'. Rarely has such naked intention been laid out so barely in lyrical form.
You wouldn't think Doherty, being a beloved indie rock singer of ill repute, should be worrying about money, but it turns out that all those years of addiction, which included three spells in jail, did not lead to the most prudent investment choices. 'I'm in serious financial shtuck,' Doherty told The Times last year, before revealing that he was facing a £200,000 tax bill, a black hole of debt for the Libertines' residential Margate studio the Albion Rooms, and three grand a month in child support for two older children from previous relationships. 'Why do you think I'm doing this tour?' he elaborated. Doherty is equally honest about his motivations on this album, while infusing it with a romantic sensibility that stops things from getting unpleasantly transactional.
• Pete Doherty live review — you can't help but be charmed
Prêtre de la Mer and Stade Océan, eulogies to Doherty's local priest and Normandy's football stadium respectively, take inspiration from his adopted country and have a rollicking Gallic quality, equal parts maudlin and celebratory. Sometimes Doherty's attempts to write his way out of trouble reek of desperation — Fingee is a bit of nonsense poetry about not much at all — but in the main there is ragged appeal, as Doherty has matured from public enemy No 1 to an ageing roué. It's a role that suits him. (Strap Originals)★★★★☆
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The Guardian
21 minutes ago
- The Guardian
‘Free of human logic': the modern artists inspired by surrealism's 100-year-old parlour game
Some time in the winter of 1925-1926, the French author André Breton and his comrades Yves Tanguy, Jacques Prévert and Marcel Duchamp invented an old-fashioned parlour game. You write a word on a piece of paper, then fold it over so the next person can't see what you've written, and you end up with a strange sentence. The game is now known as Exquisite Corpse, after the result of their first go: Le cadavre exquis boira le vin nouveau (The exquisite corpse will drink the new wine). Exquisite Corpse gave Breton so much joy because it summed up the essence of the surrealist school of art he was trying to articulate at the time. In his first 1924 manifesto, he told budding surrealists to put themselves in 'as passive, or receptive, a state of mind' as they can and write quickly. Forget about talent, about subject, about perception or punctuation. Simply trust, he writes, 'in the inexhaustible nature of the murmur'. 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'I think to not understand is a very important space,' she says. 'To be free of human logic.' Dimitri Rataud, a French actor turned artist, whose work is now on show at HIS Paris gallery, makes what he calls 'haikus marinières': surrealist-inspired concrete poems he finds by blacking out most of the words on a ripped-out page of a random book. The name itself is a word play: the pieces look like Breton tops AKA marinières because of the stripes. And the poems (et soudain … le bonheur – 'and suddenly … happiness') are as light as a feather on the breeze. The printed word, which he handles like a builder might a brick, is useful raw material. And each poem is but a moment. Rataud starts by tearing the cover off the book then opening it on the last page. He can never do the same thing twice. To his gallery's dismay, he refuses to make copies. Rataud is popular on Instagram, and you can of course see why: Breton tops, French romance, Japanese minimalism. 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'I would love it if people just take things out of their own accord,' says Chong. 'Coming from Singapore, which is an extremely paternalistic, authoritarian state, a lot of my work is not about telling people what they cannot do.' In November 2024, South Africa-based Nhlanhla Mahlangu, who is a long-term collaborator of William Kentridge, gave a performance lecture titled Chant for Disinheriting Apartheid. It collates several spoken word compositions and improvised works, which delve into the brutal flattening of colonial oppression: language stolen, names mangled, bodies which have learned to recognise different guns by the sounds they make. In one section, he performs, one by one, various unrelated sentences in the languages of isiZulu, Sesotho, Xitsonga, Venda, Xhosa. And then, 'the language of apartheid'. He stands stock still, in total silence, for two whole minutes. He recounts doing a workshop with children from Hillbrow, a part of inner Johannesburg beset by high crime and intense poverty. They were working on a performance of Aimé Césaire's 1939 masterwork, Return to My Native Land – a gut punch of a poem against colonialism, which Breton called 'the greatest lyrical monument of this time'. Mahlangu's students, who were witnessing crime and death and abandonment on the way to class, said: 'We experience surrealisms every day. We don't understand why people go to universities and study it. Our lives are surreal.' 'Surrealism offers ways to look awry at things,' says Patricia Allmer, an art historian at the Edinburgh College of Art. She recently co-curated The Traumatic Surreal at the Henry Moore Institute in Leeds. 'Because you can't encounter trauma head on, you have to find ways of seeing it, either as a distortion, through a distorting lens or from the side.' For Mahlangu, it is about 'bringing fluidity to what seems stable, and understanding that stability can be a weakness. It's constantly not answering the question, but questioning the answers, asking more questions.' In the 21st century, we may have grown wary of 'isms' in art. In a climate of constant technological and economic interruption, the promise of a transformative cultural revolution can feel suspicious; the most powerful movement in modern art, contended a recent article in the Art Newspaper, may be the art market itself. But it's worth remembering that when Breton first wrote about his ideas in 1924, he didn't think of it as a manifesto, just a preface to a book of poems he wanted to publish. And that's why Exquisite Corpse sums up surrealism's most lasting legacy to modern art today: a tool that taps you into something unexplored, a game for 'pure young people who refuse to knuckle down'.


The Sun
22 minutes ago
- The Sun
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The Sun
22 minutes ago
- The Sun
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