3 Oct 2008
The Ministry of Silly Works 
Peter Saville's at it again, and this time you create ("curate") the artwork. As hinted at earlier in the year, Saville has indeed created the "Flat-Pack Plinth". 10 October 2008 sees the opening of "Accessories to an artwork" at the Paul Stolper gallery in London, running until 22 November. From the press release (you just can't make these things up): "Peter’s ‘flat-pack’ plinth recognizes the public’s own ability, and transfers to them the power of curatorial decision, allowing anyone now to pass judgment on what is worth looking at. It acknowledges a changing audience, and their will to consume art. The flat-pack plinth is their DIY accessory in a time when culture has briefly stopped to let millions of people on board. The flat-pack plinth has a direct correspondence with Peter’s observation that ‘it all looks like art to me now’."

Made of white centred display board, and in a prototype edition of 200, the plinth measures 96cmx35cmx35cm and replicates those conventionally made from wood. He has invited 22 others to place anything of their choice on a plinth. (Including Peter Blake, Jarvis Cocker, Brian Eno, Robert Longo, Wolfgang Tillmans, and Gavin Turk.)

The first 100 will be sold at a price of £50 (+vat). (Limit 5 to a customer.)

Perfect for the artistic bronze frog lover in your life.

Get your cardboard boxes here. (Includes a lovely picture of said plinth.)


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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