And touching little details, like random, personal notes on odd pieces of paper, a tissue David used to wipe his red lipstick, (rather intimate and not photogenic)…This cloak, on the other hand, decorated with kanji characters, is grandiose; designed in 1973 by Kansai Yamamoto for the Aladdin Sane tour, it translates as ”one who spits out words in a fiery manner” and phonetically means David Bowie: Or this cobweb bodysuit, designed by Natasha Korniloff in 1973, for one of David’s surreal appearances in ”The 1980 Floor Show” where there was a third hand affixed to the crotch but had been removed after a with the NBC film crew, who also insisted that he cover up his black jockstrap with gold semi-leggings.
The former searches for all users, while the latter applies to people within Bluetooth and Wi-Fi range.
Good karma took over and, after some toing and froing, an agreement was reached with David Bowie’s archive and voila! The almost simultaneous release of his latest album, his come back after 10 years of silence must have helped!
Stepping into the exhibition feels like you walked into wonderland; is a beautiful, weird place dotted with posters and photos, handwritten lyrics and notes, personal instruments and bits and pieces, original costumes and David’s own sketches (he was actually co-designing everything from album covers to stage sets to his costumes), paintings, and of course clips from several live performances and music – a lot of music!
But his stage manner was drawn from German cabaret.
In 1974 he met William Burroughs who, during the early ’60s together with painter and writer Brion Gysin, had developed the cut-up as a method of visual and verbal reassembly that was equally applicable to painting, montage, calligraphy, tape manipulation and written word.