7 Jun 2006
Exposed in Manchester Square, London 
No, it's not a headline about a grave misdemeanour in a public space but rather this is all about a special event held last night in London to promote the North West of England as the hotbed of artistic talent that it undoubtedly is.

A selection of the work of ten of today's leading exponents was on display - Chris Ofili (exhibiting 3 never-before-seen watercolours), Peter Saville (3 pieces exhibited, one of which was apparently hung upside down), Kevin Cummins (a reprise for the Arca First XI) amongst them. Messrs Saville and Cummins were in attendance, as were Anthony Wilson and Yvette Livesey before they dashed off to do an interview somewhere else.

Among the events and art spaces being promoted were the inaugural Manchester International Festival coming in 2007, the Liverpool Biennial, The Lowry and Tate Liverpool.

On a smaller scale, one of the artists, Rachel Goodyear, was exhibiting her work in association with International 3, a new space on Fairfield Street in the bowels of Manchester Piccadilly railway station. Rachel's finely detailed pencil drawings ripped out of her sketch book were one of the highlights of an entertaining evening all round.



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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column