Full, tiring day yesterday.

Went to the Metropolitan with Carol to see the fantastic Giorgio Morandi show. If anything, it's too large as Morandi's silvery, pearly whites and browns, not to mention his exceedingly subtle placement of objects, need to be viewed at leisure. Still, certain paintings stood out and it was enough to try to concentrate on those for a few minutes in the jostling crowd. More than anything, I was wowed by the late watercolors from the early 60s. Just amazing, like miniature Rothko's. Not too much on-line I could locate, but here's another:



Museum- or gallery-going is one of the worst things for my legs. The standing around and slow moving does a number on my lower muscles. But after the Met, we walked through the park and I helped Carol with some food shopping. Then, after we parted, I went and saw "Tell No One" across from Lincoln Center, a decent if slightly slick French thriller.

From there it was out to Issue Project Room in Brooklyn to see Polwechsel. After getting more lost than I've ever been in NYC and wandering around for over an hour (don't ask), my legs were threatening to depart my hips. But I finally got there, still before the show began. It was a short set and, given my state, I wasn't complaining. Three pieces, the first and third improvs, the middle by Martin Brandlmayr. The first two were fairly pointillist, sparse events generally using one extended technique or another, sometimes overly dry for my taste, occasionally coalescing into very beautiful segments. On the final work, they loosened up a bit, playing rather loudly and maybe taking a step toward efi, but I actually preferred this approach. I did find my attention being drawn by the percussionists, Brandlmayr with his absurd level of precision and Beins so imaginative and earthy in sound generation. Overall, OK, had its moments.

Nice to see some faces that I hadn't seen for a while, including Margarida Garcia and Mattin and very nice to meet Esther Venrooy.