11 Jun 2011
Coffee, no table 
In the shadow of the great URBIS glass elephant - scene of several overpriced, over-designed, over-marketed, Factory-related exhibitions - a self-employed builder from Chadderton puts on a 1500 quid display of his personal record collection in a room above a pub and steals the show.

Colin Gibbins' 'Factory Records World First Exhibition in the Music Medium' which ran at the Ducie Bridge on 7-8 May reminded us that for all the high ideals, high art and high concept hi-fi, Factory Records relied on one very valuable, and oft-overlooked resource: the punter.

Arranged almost as a record (Peddlar) shop homage - with every vertical surface covered in hanging plastic vinyl wallets - each Factory release was on show, many complete with their duplicate formats and covers: snakeskin, cardboard, sandpaper.

No index cards, explanations nor intellectualisation, no counting nor box ticking: this was Factory with feet firmly on the ground rather than nose in the air.

A working class jewel in the belly of the increasingly middle-class beast.

[Better late than never!]

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Anonymous Anonymous said...

it want complete,its was ok

12/06/2011, 00:58

Anonymous Urbis said...

£3 was over-priced for an exhibition?

Hooky shouldn't charge so much!

13/06/2011, 12:28

Anonymous Anonymous said...

went to Urbis exhibits, & enjoyed them, but the thought of one with collectors in mind with the intimacy of peddler REALLY appeals, so sorry I missed it

14/06/2011, 17:09

Anonymous Bill said...

With regard to the first comment,Capital I, I assume you meant wasn't, note the apostrophe, also there is a break between comma and next word and it's also has an apostrophe and the context you used here doesn't really make any sense. I know i'm being pedantic but did you actually take in the relevance of the history you were actually viewing ?

04/07/2011, 00:26

Anonymous Anonymous said...

It was missing fac 376 which he now has in both formats sent by the artist piers adams to colin

29/01/2012, 17:18


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"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.

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