This photo popped up on Facebook recently, taken by Mark McNulty, whose visual documentation of Liverpool’s club/music scene of the past 3 decades is now part of the city’s cultural legacy. It’s a photograph of a record cabinet Bill Drummond made following the death of Roger Eagle in 1999, which was displayed under the title ‘Dead White Man’ in the Jump Ship Rat, an alternative gallery space in Parr Street during Liverpool’s inaugural Biennial Festival that year, but not as part of the official programme, more an anarchic fringe event.
A few years ago I wanted to show a friend Tracey Emin’s 1995 short film, ‘Why I Never Became A Dancer’, but couldn’t find it anywhere online. The last time I’d seen it was perhaps a decade earlier, at The Tate Gallery in Liverpool, so I surmised that, given it’s part of the Tate Collection, it would only be possible to view in an arts space, and not on the internet. I looked to see if I could buy a copy, but no luck there either. Anyhow, it came up in conversation again a few nights ago so I had another look online and, lo and behold, there it was on Vimeo, in all of its grainy Super 8 splendour. It was Emin’s first film, and for me it was a major key to understanding where she was coming from, both as an artist and a person (for her confessional art is, by nature, informed by her personal experience – her approach often brutally honest).
Alan Moore remains a constant source of inspiration, and since my last post referring to his work, ‘The Masked Movement’ (http://blog.gregwilson.co.uk/2011/12/the-masked-movement/), I’ve read some more of his books, as well as listened to numerous interviews courtesy of the wonderful world of YouTube.
ARTIST: THE STONE ROSES
ALBUM: THE STONE ROSES
On New Years Day at 9pm, you’re invited to share a listening session with some likeminded souls, wherever you might be. This can be experienced either alone or communally, and you don’t need to leave the comfort of your own home to participate. Full lowdown here:
“I suppose when I was writing V For Vendetta I would in my secret heart of hearts have thought: wouldn’t it be great if these ideas actually made an impact? So when you start to see that idle fantasy intrude on the regular world… It’s peculiar. It feels like a character I created 30 years ago has somehow escaped the realm of fiction.” – Alan Moore 2011
Just wanted to make you aware of a project my former Invisible Players colleague, Don Letts, has been commissioned to produce, focusing on the clothing brand, Fred Perry, and its cultural relevance in the UK from the Mods in the ’60s to Britpop in the ’90s, and right up to date via their association with Amy Winehouse, whose designs for the brand continue to be released, with the full blessing of her family, following her untimely death last July.
LA based Mr. Brainwash has really got the art world in a whirl – some still believe he’s a lucky man who made the grade, whilst others suspect a puppet who can see the strings. Behind all the smoke and mirrors you’ll find the Bristolian street art enigma himself, Banksy, whose wonderful Academy Award nominated documentary ‘Exit Through The Gift Shop’ (2010), casts Thierry Guetta / Mr. Brainwash as an unexpected cause célèbre.
With the recent ‘Astrid And The Exis’ piece came the realisation that this was, over 100 posts in, the first time I’d focused on a photographer. I thought I’d better begin to address this accidental omission, and pay more props to the still image, starting off with the controversial Tokyo photographer Nobuyoshi Araki, now in his seventies, whose medium ranges from global art galleries to the pages of readers wives type porno mags (which brings to mind what Alan Moore said about the difference between erotica and pornography being largely dependent on the income bracket of the buyer).
Stayed in a mad hotel last Friday, the Karim Rashid designed Nhow in Berlin. If you like pink, then this is the place for you – it’s literally everywhere. Not really my cup of tea, all a bit garish and, as someone put it ‘Barbie girl in a Barbie world’, but certainly somewhere you’re not going to forget in a hurry. Described as a ‘music and lifestyle hotel’, you can have guitars and keyboards delivered to your room, and the upper section of the building houses two recording studios, which are run by the company that manage Berlin’s legendary Hansa studio (best known for David Bowie and Iggy Pop’s patronage in 1977 – ‘Heroes’ and ‘Lust For Life’, both recorded there, and ‘Low’ and ‘The Idiot’ partly recorded).
“In my work as an author, I traffic in fiction, I do not traffic in lies.”