Tag Archives: modern

Margarete, Frankfurt

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Margarete is a marvellously modern dining room. The sign stands out in the street, a minimalist font standing out against the facades of old fashioned boutiques. Named after the owner, Margarete Schutte-Lihotky, a Viennese architect, the venue exudes charm and character.

The kitchen is centrally placed in the room which creates an exciting atmosphere. Guests collect around communal rustic wooden tables decorated with sprigs of flowers and clipboards menus. The clientele seems to be mostly hipsters and young trendy families, all chatting animatedly or browsing the internet on their MacBooks.

There is seating indoors and out depending on your preference. Inside a floor to ceiling bookcase holds intriguing titles around the subjects of food and art. The menu features modernised German recipes and ingredients like local sourmilk cheese and Krakauer sausage. Caesar salad is presented in a big bowl; crunchy lettuce coated in creamy herby dressing with nicely grilled slices of chicken, croutons and generous shavings of Parmesan. It was a fresh and creative take on the popular salad. I also loved the nutty farmer’s bread, dense and delicious, especially when dunked in the accompanying dip. To drink we tried the daily special, rhubarb fizz, a homemade pink delight that I would happily consume with lunch everyday!

Magarete is a lovely restaurant, ideal for a lazy Sunday brunch and popular with the bohemian locals. I loved everything about it.

More information on the restaurant here.

Many thanks to the Frankfurt Tourist board for their help with this trip, more information here.

Martin Creed, ‘What’s the point of it?’, Hayward Gallery

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Martin Creed is a British artist and musician. In 2001 he won the Turner Prize for the seemingly simplistic Work No. 227: The lights going on and off, an empty room in which the lights did indeed go on and off, at five second intervals. This eccentric artist lives and works in London and continues to push boundaries in his work.

Playful and peculiar, this first major survey of Creed’s work is currently on show at the Hayward Gallery and aims to encourage thought and discussion, exemplified by the title of exhibition, ‘What’s the Point of it?’ It is a random sequence of pieces, often art is disguised in a strange object, disturbing video or abstract action. There is a range of works and installations that will titillate and alarm all of your senses.

When you enter the gallery an impressive spinning neon banner reads ‘MOTHERS’, meanwhile metronomes tick constantly around the room. This neon sign seemed particularly appropriate when I visited (the day before Mothering Sunday), it is inspiring and yet intrusive. A man sits at a piano descending and then ascending playing each semi-tone, each note is given an equal amount of time. It is odd and leaves the visitor wondering ‘why?’

I have seen Creed’s revolting vomit video before, and this time round found it just as unsettling, in fact I couldn’t watch for more than a few seconds. Is this what the artist intends? Again we are left questioning, almost frustrated by the lack of understanding or explanation. Upstairs the pieces have a more pleasing aesthetic quality. Colour and shape is more evident and there are several entertaining pieces which are enjoyable to ponder and watch. Visitors are encouraged to enter a room full of white balloons, squeeze in amongst them and feel the static energy.

Despite an obvious lack of traditional artistic craft, this exhibition offers wit and wisdom and could not bore even the most complacent visitor. It is a colourful and varied display from one of London’s most thrilling artists.

Martin Creed continues until 5 May at the Hayward Gallery, more information and buy tickets here.

Julietta, ENO

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Modern opera often deters me but Julietta makes for a surprisingly enjoyable evening. Designer Antony McDonald has created an enchanting set with a glorious moving accordion which the performers use as a climbing frame for the action.

The story is based on Surrealist play ‘Juliette’ by Georges Neveux. It is a strange but oddly effective narrative… Michel, a Parisian bookseller discovers a small coastal town and slowly becomes aware that the inhabitants have no memory. The world of the present envelops him and he gradually loses his sanity as he realises his own reality is empty and dull. It is his powerful love for Julietta that persuades him to stay in this bizarre dreamland.

The show took a while to warm up… initially the madness feels incongruous with the confident orchestra and beautiful set, the acting just isn’t convincing enough. But as the evening progressed, I felt more absorbed by the crazy surrealist world. Act 2 is particularly captivating as the young couple meet in a nearby forest. While the love scene commences, musicians wander in the background playing instruments nonchalantly. The cast are tight and together… often I get the feeling casts do not enjoy performing more contemporary operatic work, but Julietta seems to spark the ENO chorus. Peter Hoare is exceptional as the lead, Michel Lepic, he sings with clarity of tone and with an affecting passion. I found Julia Sporsen unnerving and scary and her voice soars through the auditorium. Andrew Shore and Henry Waddington impress in the lesser roles.

The orchestra headed up by Edward Gardner seems very comfortable with the quirky modern Martinu score. Despite the obvious dissonances, the music does not lack melody and at times is startlingly beautiful, the ENO orchestra does a commendable job demonstrating its strengths.

Another example of the ENO company producing work that is innovative and creative without losing universal appeal.

Continues until 3 October, book here.