Tag Archives: Orson Welles

“Infinite Space” at ARTECHOUSE

“Infinite Space, the first major retrospective of the work of award-winning, Los-Angeles-based, Turkish-born artist Refik Anadol, invites visitors to open their senses to the endless transformation and infinite possibilities at the intersection of man and machine.”
—from the program notes

That quote got me thinking about the endless transformation and infinite possibilities at the intersection of me and my vacuum cleaner, but perhaps I was taking it too literally.

The current environment in the main room at ARTECHOUSE suffered from a long, dull opening sequence that drove many of us from the room. It was only later that the artist gave us a taste of the mesmerizing beauty that keeps us coming back to the venue:

The walls in ARTECHOUSE’s main room are 30-feet high, so the video is best viewed full screen.

The real fun at this show was in the Infinity Rooms in the side galleries, where mirrored, angled walls created a high tech funhouse effect. Seeing two people who look vaguely familiar simultaneously approaching you from a corridor on your right and from a side hall on your left, and then realizing that they’re both you, is a wonderfully disorienting experience.*

If you wanted, you could be a one-person chorus line.

Two’s company, four’s a crowd.
Look closer. There are only four people in this picture.

“Infinite Space” will run through 2 September 2019.


The Lady From Shanghai
That Scene from Orson Welles’ 1947 film noir.


*Even though those two people are considerably older and heavier than you are.

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The Third Man, and Café Mozart

That scene contains the most frequently quoted passage from The Third Man, and as it ends, you can hear part of Anton Karas’s famous musical score, played on the zither.

The Third Man is a classic 1949 film noir set among the ruins of Vienna during the post-WWII occupation. An American, Holly Martins, spends much of the movie trying to find out what happened to his friend and potential employer, the mysterious Harry Lime. The film, with Joseph Cotten as Martins and Orson Welles as Lime, was written by Graham Greene and directed by Carol Reed. With that much talent involved, it’s not surprising that the British Film Institute named it as the greatest British film of all time.*

I’ve mentioned that one of my little side projects on this trip was an exploration of some of the historical cafés and coffee houses of Vienna. Here’s how The Third Man fits in.

Café Mozart is identified by name in the movie, but the scene that was set there was actually filmed at another Vienna café. The real significance of Café Mozart is that this is where Graham Greene worked on the script.


Coincidence

As I headed for the café, I walked past this building, and recognized it immediately.

In The Third Man, this is the entrance to Harry Lime’s apartment building. It looks unchanged from when the film was made in the 1940s.


Café Mozart

Café Mozart

Café Mozart

Café Mozart can trace its origins back to 1794, and was renovated in 1994.

Café Mozart Interior. Image found on the Web.

Café Mozart Interior. Image found on the Web.

Knowing myself as well as I do, I realized that once I was comfortably seated in a nice warm cafe, drinking a nice hot cup of chocolate, it would take an enormous effort to get me back onto the cold, windy streets of the city.

Mozart Schokolade

Mozart Schokolade

Hot chocolate, with a chocolate and pistachio sauce and a dollop of whipped cream.

Cream Cheese Dumplings

Dumplings

Cream Cheese Dumplings on a berry compote.

Let’s just say I stayed a little longer than I’d planned, and much longer than was absolutely necessary. But can you think of a more pleasant way to spend a couple of hours on a chilly afternoon?


*A solid choice, although I’d probably go with Kind Hearts and Coronets or The Bridge on the River Kwai.