In 1922, after a Stravinsky soirée, Proust and Joyce shared a taxi – their only meeting. Joyce was half-blind and Proust couldn’t breathe; when the Irish writer opened the window to smoke, the Frenchman thought he was trying to kill him. Joyce, who had just published
Ulysses , complained that
Proust talked only of duchesses whereas he preferred chambermaids. All this and much more –
Man Ray photographing both writers; Duchamp experimenting with his “Large Glass”; a girl, maybe Joyce’s/Homer’s Nausicaa, watching herself being watched in a mirror; the impenetrable façade of a looming building resonant of Kafka, who began
The Castle in 1922 – is condensed in Peter Milton’s giant etching “The Ministry”. Playing with layers, transparencies, reflections, fragments, collapsed narratives, mythological figures, in a stunningly textured print which yields vista after vista, abundant detail within a perfectly considered composition, Milton gives visual form to our continuing vexed, intoxicated relationship with the modernist moment.