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
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