23 Apr 2008
THE PIECE NEED NOT BE BUILT 
In 1968 Lawrence Weiner, one of the key figures of Conceptual art, formulated his famous Declaration of Intent:

1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built.

Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.

On 2 February 2008 Lawrence Weiner discussed his work with art historian and critic John Slyce at Tate Modern in London to coincide with his recent retrospective AS FAR AS THE EYE CAN SEE at the Whitney Museum of American Art, New York and his 2008 exhibition at the Lisson Gallery in London which ran until March. The event is archived as a webcast at tate.org.

Perhaps not too much to interest the casual FAC follower only familiar with his record covers and posters for Factory Records but for those keen to find out more about Weiner or who simply have never seen him talk before this is a great opportunity.

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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