Pierre Etaix

The star of the current Bristol Slapstick Festival indulged us all by appearing in person at nearly all of the performances of his films. For some of us, merely to be on the same planet at the same time as the neglected clown-genius of film-making was good enough. But here he was, before the great, the good and the fans, receiving his Aardman Award from Peter Law: a lifesize statue of Morph. Etaix' body of work is small, but every one, be it feature or short, is a gem, and his influence has spread through the work of disciples who include such luminaries as J L Goddard. This afternoon we were treated to  one of the more famous shorts, inevitably La Rupture . I first saw it and Le Grand Amour; the one about automotive beds becoming transports of guilty delight, back in the 'Sixties thanks to the indulgent kindness of Glasgow's Cosmo Cinema, despite the tortuous copyright contract that kept them from the screen for so long.

The rest of the Festival has been as good as it gets: a gala performance of Keaton's timeless The General and - did I say the great and the good? faces to see this time include Terry Jones, Ian Lavender, Gryff Rhys Jones, Bill Oddie and Kevin Brownlow, who if not up on-stage introducing films were thronging with the masses.

Visions and schemes at RWA

A document published by Simon Baker (creator of the Royal West of England Academy of Art Board; see below), lays out his ‘vision’ for the future of the RWA. It begins: “The RWA Board has resolved that the RWA has to obtain control of the Friends’ cash, subscriptions and database. The purpose of this note is to set out the legal means of achieving this transfer, the options and the position if FRWA agreement to meeting the RWA Board’s requirements is not forthcoming.”
Not surprisingly, the FRWA membership was not unanimously tickled pink by this proposal. Following the outcry from members of FRWA over the news that the Friends would be swallowed by the RWA, a meeting was fixed between the dissidents and two board (of Trustees) members, Norman Biddle and Trystan Hawkins. Mr Hawkins, recently added to the Board by Simon Baker, had been given the task of putting into action the Board’s moves to take over the artistic decisions at the RWA from the Academicians.

Not all the complainants were there though; I’m told that Mr Baker prevented some of the invitations from being sent out.
There seems to be no doubt that he popped into the envelope-stuffing room as copies of an update for the FRWA were being redied for posting and said, “Do not send this out.” - His physical presence in that confined space apparently being enough to enforce his will on the volunteers, none of whom had taken a course with Charles Atlas. The update revealed how far the RWA had gone in abrogation. I quote: “ The RWA Board is empowered by the RWA constitution to establish new groups and to withdraw recognition from existing groups.”
It questioned why the decision was made to incorporate the Friends within the RWA, and takes a stand against FRWA subscriptions going straight into the RWA’s bank account as this could leave the Friends having to wind up. This ‘Direct Subscription Scheme’ has been given a name: It’s Called ‘Friends’…
Norman Biddle denied that there was any such thing as a doppleganger FRWA. a cuckoo in the nest, but while the Board-dominated RWA holds the FRWA like a puppet on its knee, and there is a likely drain on potential FRWA income from the ’Scheme’; it, whatever it is, clucks like a cuckoo.

Great fleas have little fleas...

The Royal West of England Academy of Arts is, as far as the general public can see, on an inexorably upwards curve, going from success to success. Gaining museum status, becoming more accessible all day every day, putting on the occasional blockbuster and publishing the hefty Art magazine to replace the Friends’ Newsletter.
There can be no doubt that this all good for business; and the RWA is a business - at least as far as having to make a profit rather than a loss. But behind this rise out of the red there is a strange tale of internal politics that would be more in place in the Papal Rome of the Medicis and Borgias than this quiet unprovoking little world of ageing artists and volunteers in the twenty-first century.
Just for the sake of chronology, I date the period of change back to the day the Friends of the RWA (FRWA) voted in a new chairman, Simon Baker. In the following year, on 15 March 2009, I found myself being gently persuaded to stand down from the committee to make room for a new member; shortly later, Roland Harmer, editor of the Friends Newsletter, known to be close to me, began losing editorial and executive control of the Newsletter to the Chair, who as Chair would automatically be on the newsletter subcommittee.
The new Chairman did not stay for long, though: he left the FRWA Committee to form the new Board of Trustees, which, it was trumpeted, would be better placed to manage the quotidian business side of keeping the Academy running and out of the red, while leaving all the creative work, the exhibitions, in the hands of the Academicians - but it wasn’t long before the Trustees took over the exhibitions too. A new chair, Roger Manthorp, told me he had been ‘fingered’ by the outgoing Chair as his replacement. He was quite pleased at the time, although he had one word of caution - the academicians had been persuaded to hand most of their executive powers to the Trustees and agree that this would be irrevocable.
Six months later Manthorp angrily told me he had resigned, as the outgoing Chair had insisted on keeping his seat.
Next on the calendar: Derek Balmer, President of the RWA, abruptly left his post. Two witnesses told me that there had been a vote of no confidence; one of them had been asked to leave the room during the vote and returned in time to see the President leave, “an angry look on his face.”
The President was replaced in the same manner as had the position of Friends’ Chair. When I asked the new man if the President had jumped or was pushed, he protested that there had been no vote of no-confidence;he appeared to believe this himself. But within the year he, too, had resigned after finding he was not being allowed to make his own decisions without pressure or interference.
As I write, I understand that the FRWA, although it has not, as a charity separate from the RWA, been wound up, has been incorporated into the RWA (which would put the Friends under the control of the Trustees) - slightly dodgy in book-keeping terms as the RWA is the FRWA’s customer; and word is that the Trustees are making moves to wrest whatever powers the Academicians still hold, from them.
In the end, the RWA remains in business despite the recession, and despite the power games you may find echoed in many offices and companies. At the same time one of our protagonists has made a good few enemies and may well make more. Such is life. No explanation!

Happy New Year

Art direct from Gaza. where else?