Strane analogie.

Un tizio che, improvvisamente, si mette ad urlare all’interno della celebre cappella di Rothko a Houston, in Texas, fa venire in mente a Nathan Dunne delle analogie tra i colori del pittore e il disco Graceland di Paul Simon:

Rothko’s paintings, and their context within the chapel, resonate in ways not dissimilar to Graceland. The chapel allows for contemplation and prayer through painting, where the album embeds notion of inequality, alienation and racism among spritely 1980s synths and loose dance rhythms. Put simply, apartheid is burbling under the surface of Graceland, while in the Rothko Chapel the paintings create a highly personal response, one that, at least in Timothy’s case, resonates with the plight of the disfranchised and the unseen.