11 Oct 2008
It all looks like art to me now 
The private view for Peter Saville's exhibition of other people's creations being exhibited on his new flat-pack plinths, Accessories to an artwork took place on Thursday 9 October at the new Paul Stolper Gallery (itself resplendent with its new Peter Saville-designed street sign).

Peter Saville was there to launch the initial prototype edition of 200 plinths. They are, according to Saville being snapped up quickly not only by individuals with fifty quid to spare and nowhere to put their telephones but also by museums and galleries. A mass-produced run seems inevitable.

Plinths aside the exhibited works range from the esoteric to the conceptual via outrageously funny. Jeremy Deller's homage to Fantin-Latour's bowl of flowers and hence the cover of Power, Corruption and Lies is matched by Todd Eberle's more obvious placing of the record itself. Robert Longo, artist and director of the video for Bizarre Love Triangle, offers us mini-mushroom cloud. Brian Eno's light flowers are just Eno being Eno. Jarvis Cocker's cut out trees are oddly beautiful. Another plinth is left empty and the burnt ashes of part of another are tastefully sprinkled atop it. An unfeasibly large sexual toy is eye-wateringly amusing. However, the best is saved til last though with Sarah Morris and Liam Gillick's "plinth on plinth", a loving homage to Rachel Whiteread.

Amongst those enjoying also the show were Ben Kelly, Kevin Cummins and the actress Tamsin Greig (Green Wing). Hi to Iain & Bunny, Andy and Mark.

Labels: ,

0 Comments:

Post a Comment

<< Home



- - - -


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