“The mild despair and temporary loss of the will to live I experienced on visiting this year’s display may be associated with the fact that three out of the four shortlisted artists are showing a film or video work. James Richards’s film “Rosebud,” 2013, is a visual-aural melange of stills from censored Japanese erotic photographs discovered by the artist in a library, intercut with footage, including bits of somebody’s arms flopping around while they roll around on the floor and other sequences shot half under water. At this point, traditionally, the critic explains why the artist is doing this, but I’m not sure I can…the phrase “willfully recondite” came to mind.”—Martin Gayford
Madeline Holden, Dick Picky, for the New Inquiry, October 2014.
(…) If the female gaze ends up boiling down to a collection of stereotypes about what heterosexual cis white women like looking at, then it isn’t radical; it’s a hollow rhetorical device that promotes the desires of a narrow group of privileged women while purporting to include us all. So while we shouldn’t stop putting women in the position of gazers, what we really need to cultivate is a plurality of gazes.
We need different types of women, marginalized men, and nonbinary people to vocalize their desires until we destabilize the demand that insists on a single perfect consumer, a uniform gaze designed to tell us what we want instead of answer to it.
“I realize that I have begun to view the work itself as being either intentionally or unconsciously produced expressly to cater to the 1%. I go into a gallery now and—rightly or wrongly—immediately think, “inoffensive tchotchkes for billionaires and the museums they fund.” I can’t see the work or any ideas behind most of it anymore—if there even are any.”—David Byrne
“…like all “isms,” is a media invention to simplify the analysis of cultural events. By the time I became familiar with this term, its meaning had already greatly widened and was applied to all human activities.”—Enrico Castellani
The idea for the project was reportedly sparked while Cave, Forsyth, and Pollard were working on Cave’s upcoming semi-autobiographical documentary “20,000 Days on Earth,” when the singer told a story about watching Nina Simone take out her gum and place it on the piano before a concert. As it turned out, Cave’s former Bad Seeds bandmate Warren Ellis, who later visited the set, had actually kept the gum, as well as the towel Simone used that night to wipe her face. He sent Forsyth photographic proof the next day.
“It’s a pathetic looking dirty piece of gum, wrapped in a white towel,” Forsyth recounted to Wired UK. “It’s shit, but it’s important shit. And that’s what this project is all about.”