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.

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Peter Saville colour wheel
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

Factory Records

The Durutti Column