7 Nov 2005
Peter Saville 'Estate' @ Migros Museum fur Gegenwartskunst, Zurich, 12 November 2005 - 8 January 2006 
As trailed as long ago as 2003, when The Peter Saville Show first made its debut, the follow-up exhibition, 'Estate', premieres in Zurich from this Friday. Saville is also doing a talk on the exhibition on Thursday 17 November.

From www.migrosmuseum.ch: "The legendary cover of the New Order single Blue Monday (1983) and, for example, the cover of the Joy Division album Unknown Pleasures (1979), were to bring the Manchester graphic designer Peter Saville (born 1955) worldwide renown. In this solo exhibition at the migros museum fur gegenwartskunst, his archive is being fully opened to the public for the first time to reveal three decades of work. Using a reduced, Modernist style Peter Saville has made key innovations in the field of visual communications, and in recent times he has had a profound effect on the interplay between art, design and advertising."

Opening: Friday 11 November 2005, 6pm
Then from 12 November 2005 - 8 January 2006

Art Talk in English with Peter Saville on 17 November, 7pm. In collaboration with the British Council.

Migros Museum fur Gegenwartskunst
Limmatstrasse 270
8005 Zurich
Tel: +41 44 277 20 50
Fax: +41 44 277 62 86

Map

www.migrosmuseum.ch

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Peter Saville colour wheel
Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

Factory Records

The Durutti Column