25 Mar 2006
Peter Saville: the M and M&C 
Peter Saville's new giant 'M' logo that isn't a logo for the City of Manchester has been unveiled at a property conference in Cannes, southern France. The Manchester Metro explains why not everyone is happy.

The April 2006 edition of Creative Review has a feature on the commercial side of Peter Saville's work. In 'Saville to be M&C's Agent Provocateur' [page 20], M&C Saatchi's Creative Director Graham Fink and Peter Saville talk about Saville's new consultative role:

Fink on Saville: "If you look at the D&AD awards, the designers moan about the advertisers and vice versa. And all the designers I knew at art school were remarkably dull people. But then you look at Peter's stuff and it's so visual, it's iconic. What we are really trying to do is make our clients' brands iconic: having Peter here will bring a different kind of mind to the creative department."

Saville on Fink: "What Graham's asking me to do is just respond. These people fill up our world; advertising makes an enormous impact on our visual culture. If you're going to fill up these spaces with visual material, the more civilised it is, the more cultured, the better. All I have to do at M&C is be a voice from outside of the system but with some sensitivity to what the message is. He asked me if I would act as a provocateur. What could I say?"


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Biting Tongues

In the grey days of late 1970s post-punk Manchester, youth culture was a serious affair: every musical performance was measured mostly by the conviction of its delivery. The term 'New Wave' opened up free vistas where acquired skills could once again be exercised after punk's monochrome blur. It could be applied to anything from a James 'Blood' Ulmer record to the latest Throbbing Gristle release, Magazine to Swell Maps. Move outside that terrain into Sun Ra, Parliament, Frank Sinatra and Martin Denny, and your options were suddenly without limit...

Then came Tony Wilson's Factory Club (at the Russell Club in Hulme) offering an open invitation to experiment that was taken up when Ken Hollings, Howard Walmsley, Eddie Sherwood and a few others decided to make some noise to accompany their 16mm silent epic Biting Tongues. A further performance followed a few weeks later, when Colin Seddon and Graham Massey disbanded their Post Natals project and joined up. The film itself, a flashing series of negative images, became a memory; the name remained.

- extract from the LTM Biting Tongues biography

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