Advanced Field Recording and analytics

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British artists Richard Perry is invited by Jamie Stevens (2) to present London's alternative art scenes are too far to see by any maximum. He believes that this price at the social hypocrisy held in Paris (3) the entire time normally associated with tourism to tropical destinations. The installation could be read as we see what is answers. Real Irish? No. Joe was an old soul of the rebels. The real bowl is a word from Bobby. Yeah, in your Bureau, we see for some supplies. Retreat to the Mat. Compart from 1909 a period of astronomical inflation. These works can also allude to the art markets inflated prices, as they are always being pushed higher and higher. (4) You got to hold off.

Transcribed by https://otter.ai.

Notes

Subsequently released on the 2016 Jazz EP by Richard Parry studio / Piper Keys.

1. Much of this recording is derived from the playback of an institutional audio guide produced by the Astrup Fearnley Musuem on the occasion of the Europe Europe survey exhibition in 2014. Astrup Fearnley Museum was a well known contemporary art space in Oslo at the time. From The Astrup Fearnley Interview, 2014: "Most of the art I do, I don't think really offers that much that's not already there, like in art books and history books and the cliched imaginations of middle-class art people."

2. Jamie Stevens was a curator from mid 1980s who curated Artist's Space New York.

3. The Institute of Social Hypocrisy, 2009 - 2011, was a collaborative art program situated in Paris where RP occasionally exhibited.

4. Europe Europe featured several RP paintings of Zimbabwean banknotes from periods of extreme hyperinflation. From The Astrup Fearnley Interview, 2014: "I was drawn to these banknote designs because they reissue a kind of idealised landscape and orchestrated value"

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The Astrup Fearnley Interview, 2014

Satellite Show, 2012

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Five Landscape Paintings are institutionally shared through Bloomberg's glass gallery walls. (1) They depict scenes from a specific London suburb where the artist has just bought a flat. A decorative form of collateral to be harvested, they are seen to inform wider economies. Specifically the Brockley Property Market. (2) Making visible ways public information or display might become subverted. In the interests of of private or even institutional wealth extraction.

Notes

The title is a pun on Kind of Blue, a studio album by American jazz trumpeter-composer Miles Davis. It was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released on August 17 of that year by Columbia Records.

1. Bloomberg LP’s European headquarters are located on Finsbury Square. Bloomberg is a privately held financial, software, data, and media company with it's European headquarters located on Finsbury Square in London. Finsbury Square was the last holdout of 2011's Occupy encampmnets in London until 2012. Occupy Finsbury Square, on the edge of London's financial district, began as a spillover of the main camp set up outside St Paul's Cathedral in mid-October by protesters demonstrating against the perceived excesses of the global financial system. The transparent corporate architecture of Bloomberg SPACE, simultaniously enclosing and circulating its subjects appeared as a kind of metaphor for an emergent information capitalism.

2. Brockley is a suburb of South East London. Linton Kwesi Johnson mentions Brockley in his poem "Inglan Is A Bitch" (1980). He spells it "Brackly" as this is roughly how it sounds:

dem a have a lickle facktri up inna Brackly
inna disya facktri all dem dhu is pack crackry
fi di laas fifteen years dem get mi laybah
now awftah fifteen years mi fall out a fayvah

From the Dazed & Confused Interview, 2012: "I recruited some baby elephants to help me do an art commission, bought a flat and did it up as part of a critically attuned art practice. The elephants are called Chemi Chemi, Ishaq B, Mutara and Olare. They live in Nairobi and I bribed a volunteer at the sanctuary help make and send their paintings. "

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Elephant Paintings, 2012

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Recorded inside the Elephant and Castle Shopping Centre, during it's last weeks of operation, the ambient sound foregrounds an ambient vitality ahead of it's decentralisation. The Elephant and Castle neighbourhood has since become a byword for the negative effects of gentrification: poor financial and planning decisions by local authorities; greed of property developers and foreign investors; private profit over community needs; and social and racial cleansing.

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Southwark Notes – whose regeneration?

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I think if you're a painter in London now and you want to be serious you have to accept you're working in a desert and you have to address the culture of your own work starting from zero. And you have to actively repel and be antagonistic all the time to these consoling illusions of community which are really no different to propaganda or 'We Are City Island' advertorial column inches (1). So maybe I'm painting OBEY paintings since 2009 because it makes me feel artistic to paint OBEY paintings since 2009. Not because I have an urge in my blood to paint OBEY paintings since 2009. Not because it's part of my cultural community to paint OBEY paintings since 2009. And maybe it feels avant-garde to exhibit them inside a Mark E Smith (2) tribute foam party inside an emerging project space inside Catford (but not Lambeth, no no no) (3) inside London when the entire social franchise is saying you are not real you are not the artist that Shepard Fairey was. (4)

Notes

Originally released on CD in 2018 as "Field Recording" by Richard Parry studio / 3236RLS.

1. "City Island", is an exclusive peninsula in east London. The developer's marketing materials narrate the role of native creatives within a singular, island-based community vision. Future City mention their marketing strategy for City Island (2010): "Infrastructure and activity planned on the peninsula could be stitched into existing cultural activity to fashion a new dynamic and highly creative district." These representations usually depict "the Creative" as a young, attractive, privately-funded entrepreneur essentially subject to projections of the urban developemnt project, and hence, "culture" can only occur when their aesthetic of “community” value becomes financially capitalised as instrumental of the London property market or London property-market-influenced.

2.Mark Edward Smith (5 March 1957 – 24 January 2018) was an English singer and songwriter, and only constant member of the group the Fall.

3.Catford, served by many Transport for London bus routes, is a neighbourhood in south-east london, where Le Bourgeois gallery was located. "Not Lambeth, no no no" refers to the temporary relocation of Jenny's gallery to neighbouring Lambeth, and the subsequent jouncing of artistic postions held by their affiliated, London-based artists on practices of Gentrification.

4.Shepard Fairey, who had created earlier political street art critical of government and of George W. Bush, created a portrait of Barack Obama stemming from Fairey's feeling that Obama's "power and sincerity as a speaker would create a positive association with his likeness." Fairey found a photograph of Obama using Google Image Search (eventually revealed to be an April 2006 photo by freelancer Mannie Garcia for The Associated Press) and created the original poster design in a single day, becoming a key iconographer for th 44th President of the United States of America, and subseqeuntly nvolved in various controversies, mainly related to the allegations of using other artists’ work without permission. Critics have also accused Fairy of manipulating politically charged imagery and exploiting the alternative cultral scenes and subcultures under the countenance of 'street art'.

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Mark E Smith Tribute Foam Party, 2018

3236rls.com

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The sixty-five minute recording documents a journey along Humber Street to where Cosey Fanny Tutti and Genesis P-Orridge are performing under the auspices of Hull City of Culture 2017. Snippets of conversation merge together through tidings of contemporary art practitioners including Helen Kaplinsky, Genesis P-Orridge and the art dealers of London's the Cabinet gallery discussing local house prices.

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Firewalls for the New Sensationalise, 2017

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An art dealer, bought an entire downtown building to make into a yuppster hotel or something. (2) And his whole thing was he wanted to keep the graffiti on the outside of the building. Real graffiti. And he was like, I’m not gonna clean it off cos it looks so rad. And that style, that fetishism is very, very London art world from like five years ago. Cladding. Ethical meltdown. (3) It’s interesting to hear you say that, there was a sort of fetishistic thing about five or six years ago specifically. It was like around then the solitary, cool male art figure started morphing into this scenic device. Like an endless endless Ed Fornieles reading group (4) or something. So yeah, but maybe what I’m doing, what you’re doing, what George is doing what some others are doing is kind of the same. Same but different. So it’s a slightly collective thing. It could be but if people people can try and manufacture that and make a fake collective and try and chase that, but it can happen in isolation people not necessarily knowing. I think there has been a shift. Like network capitalism, where they’re just intensifying a symbol of an authentic situation like a Basquiat painting, or an Eddie Peak painting, (6) towards how they can operate the means of social production itself ahead of time. Like the serpentine gallery (7) and Yanna Peel (8) and NSO group weapons(9) all doing that stuff last year, overlapping. The idea the context is all that there is, a sort of pretext for paintings to execute.

Notes

Originally released on the I'm Going 2 Spain CD / CD- ROM in 2021 by Richard Parry studio / Mario Suardiaz. The title follows Miles Davis’ recording with Gil Evans from George Gershwin’s folk-opera Porgy & Bess, recorded in 1958.

1. The recording is built around the playback of a conversation between RP and Jeremy Glogan during a studio vist in Lewisham Art House. Genre-specific elements include Grime, and Paula White, Donald Trump's Spiritual Advisor.

2. This references Vito Schnabel, a reknowned art dealer and the son of neo-expressionist painter Julian Schnabel.

3. The United Kingdom cladding crisis, also known as the cladding scandal, is an ongoing social crisis that followed the Grenfell Tower fire of 14 June 2017 and the Bolton Cube fire of 15 November 2019. The fires revealed that large numbers of buildings had been clad in dangerously combustible materials.

4. Ed Fornieles is a content-provider for London's Zabludowicz collection. His work "addresses the ways in which people portray themselves in the real world and online, along with all the decoys, masquerades and play-acting that constitute their identities" (Zabludowicz Collection). The Bunker Reading Group, led by Ed Fornieles, sought "to make sense of how even abstract ideas or global events might relate to our pasts and day to day lives", positioning his gallerist as "a site of emotional and intellectual exchange" whereby artists apply "language and shape to complex realities and experiences." (Carlos Ishikawa, 2021).

From The Boycott the Zabludowicz Art Trust and the Zabludowicz Collection, 2014: "Zabludowicz Art Trust uses art and culture to artwash the Israeli state’s ongoing racism and violence against Palestinians. It is intimately connected to lobbying activities on behalf of the Israeli state, and to a company providing services to the Israeli Air Force. The Zabludowicz brand weaponizes culture to legitimate and reinforce the Israeli policy of apartheid.".

6.

From Jeffrey Charles Henry Peacock, 2012: "Rhetorician Eddie Peake’s sibilant dialogue is reminiscent of Pac Man unrelentingly moving through a heavily prescribed, prosaic system chomping on whatever goodies come his way; the ghosts Peake is desperately gasping to evade represent coherent, meaningful statements or arguments. One ghost manages to manifest itself as: “I like to think that an audience might be left with a set of images in their head”, and another: “I hope the piece kind of takes the viewer on a journey”.

7. Serpentine gallery is the closed-circuit context lab of ambient funding systems. The Sackler family, whose company is behind OxyContin, one of the painkillers at the center of the deadly US opioids crisis, donated £5,500,000.

8. From The Financial Times, 2019: "When Yana Peel took over as chief executive of London’s Serpentine Galleries in 2016, she described it as her “hashtag dream job”. Three years later, she has been forced to step down after a public backlash over her contentious business interests...following the publication of a Guardian article that revealed she owned a third of a Novalpina company related to her husband Stephen’s private equity firm, whose single biggest investment is in a controversial Israeli spyware company, the NSO Group."

From a statement by Yana Peel: "If campaigns of this type continue, the treasures of the art community – which are so fundamental to our society – risk an erosion of private support. That will be a great loss for everyone."

9. "NSO is basically the same as an arms manufacturer, because its software is regarded by its home government as a weapon"(John Naughton, 2011)

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The Pegasus Project, 2021

I'm Going 2 Spain, 2021

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If your role when you hove no power is to make souvenirs of your culture for commercial use 1. then you are doing what the Government says artists do. 2. So maybe I'm painting JAZZ paintings because it makes me feel artistic to paint paintings about JAZZ. 3. Not because I have an urge in my blood to paint paintings about JAZZ. Not because it's part of my cultural community to paint JAZZ paintings.

Notes

Released on the 2016 Jazz EP by Richard Parry studio / Piper Keys. The title follows Miles Runs the Voodoo Down by Miles Davis, the structure of which allows for the players to come in and out of the basic down-beat and up-beat to perform complex rhythms knowing that their counterpart can support the beat until they come back.

1. Possibly a reference to the RP exhibition of "counterfeit readymades" held at the National Gallery of Zimbabwe in 2011. From the Zimbabwe and Hypocrisy in the Art World interview, 2013: I located my work in Zimbabwe to avoid having to locate it in contempoary art history... I had some work fabricated for an exhibition there that took into account it's wider role [being in a Zimbabwean contemporary art festival that opened for Robert Mugabe's birthday], but now it's gone a bit mainsteam."

2. This may refer to regular attempts by conservative UK politicians to revist 'Cool Britania' by hosting parties in aid of the creative industries. From The Guardian, 2014: David Cameron said the UK had always "punched well above our weight in culture and the arts … we don't have the natural resources to rival other nations but we've got the cultural resources".

3. The JAZZ studio paintings (2014-ongoing) were a body of work produced in 'a shared space in an artists' co-operative. From The .studio website: "The paintings have nothing to do with politics, globalism or London. Each one starts with a single colour, arbitrarily arrived at. After that, it’s about conscious relationships that seem about right."

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David Cameron revisits Cool Britannia (with Michael McIntyre and Cilla Black)

Meet London's new generation of sensationalists shaking up the art world

Record launch flyer

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Not Not Fireworks is a Land Art initiative about exceeding ironic economies of attention. Substantiating single entendre principles. Risking the disapproval of collectivised yuppsters. Or those that want to be like collectivised yuppsters. (1) And art persons afraid of gaze or ridicule. It has been inspired by the oppressive nature of the too successful artist. By this I mean the conferred ability to critique a question whilst tacitly avoiding its content. Like using the same groovy technique to expose the enemy as insulate yourself. Colonial criticality. The tyranny of "cool". Visual aids for gentrifiers. Irony institutionalised. And other simultaneous things.

Notes

Subsequently released on the 2016 Jazz EP by Richard Parry studio / Piper Keys. Titled after Sketches of Spain, an album by Miles Davis, recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City.

The audio was recorded in Margate seafront's Turner Contemporary, a provider of exhibitions events and learning opportunties for a highly gentrified locale. Following the unforeseen cancellation of RPs contribution to the Risk exhibition, following last-minute concerns over conditions of weather and institutional liabilty, Not Not Fireworks were instead lit from the adjoining public beach, Margate sands. From The International Curator's Forum, 2016: "This was a violent kinetic experience witnessed by the boy racers who encircle Margate harbour, not the curators of #airedeturner. We were alarmed by the sparks made from the explosive gunpowder and watched smoke across the seafront, a glittering end to a curious day."

1. Then, in 2015, the Project Native Informant collection pitched Shanzai Bienniale's art collective at London's Frieze Art Fair, and suddenly the floodgates opened. Autocritical arts by collective startups promoted a contextual purchase of almost anywhere, it seemed through market-ready aesthtics of AirBnB, Gulf Cooperation Councils, lifestyle magazines and more. Today you have to struggle through a cloud of commerically played-out signification to try and remember the direct emotional connection these amazing projects once made.

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Lyrics

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The contextually-aware representation, totally clued-up on the capital tip. The vacancy of the present. The politics of locality. Images of artistic alienation. Manufactured scarcity. A counterculture inseparable from its own simulation. A sense that fulfilment isn't to be expected from the work.

Notes

1. Titled after Sketches of Spain, an album by Miles Davis, recorded in New York City in 1959-60, Sketches of Schaffhausen represents a medieval municipality located on a finger of Swiss territory surrounded by Germany, on the upper Rhine River. The intro is a voice on smartphone, approximately culturally-appropriating Daft Punk's 1997 anthem Around The World. The bells in the background are likely St. Johann's, a Protestant church in Schaffhausen's old town where RP was lived and worked.

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SWISS JAZZ pts. 2-9

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Clap For Our Carers was the official Thursday-at-8pm-applause-for-NHS-staff that was performed across the UK for ten weeks during the first national lockdown. Brexit Party leader Nigel Farage posted a video to social media after this event on April 30, in which he was seen tapping a pot and looking up and down a quiet street. At the end of the 15-second clip, Mr Farage, dressed in brown cords and a burgundy jumper can be heard saying 'very good'. Many comments below Mr Farage's social media post highlighted the perceived hypocrisy of him participating in the event.

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The Cambridge Analytica Files

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What am I going to wear at a foam party party party are getting ready for the best night The club has put in ages the thing coming What are we going to do we're gonna get any clothing line tight fitting fitting following what to wear. Avoid avoid, have some fun with your outfit. wearing shorts, t shirts and beach wear is advisable you may want to complete the goggles for feeling really great. Find out where your normal clothes and stripped down to a pair of speedos. When the phone starts your draw calls at the end of the month. We have also seen people turn up the killing. Keep makeup to a minimum and remember he might want to leave those killer deals in the water for the night. Club club you really have to have he'll make sure they only have a small view. If you get slippery in the club with regard everyone is going to get whacked. It's all part of the fun of the following idea. to getting the drowned rat and possibly Tony to win it go and keep makeup minimum and make sure the makeup you wear waterproof to wear a bikini or swimsuit underneath. Remember flat shoes handbags. Waterproof plastic bag, mobile phone camera camera the following latest one of those materials that have not reacted well to avoid suede shoes and jacket and jacket. seminaries whenever can get this particularly the tidemark when it dries whoa whoa. Gave me a very heavy on another good idea to take a bag of dry clothes even just to try to still be nice to change your talk for the way who we watch. When you come to us to keep it dry make use of the local facilities they are worth every penny.

Transcribed by https://otter.ai.

Notes

Originally released on CD in 2018 as "Field Recording" by Richard Parry studio / 3236RLS. Produced by Le Bourgeois.

The recording session for What Am I Going To Wear At A Foam Party? took place in a sports car in Catford, the administrative centre of the London Borough of Lewisham ahead of RP's 2018 Le Bourgois event. The car's hazard lights set the tone for the whole song. The song includes some interesting time signature shifts between 4/4 on Jacques Roger’s verses and 3/4 on Cathy Osterberg’s parts. The gallerist's lyrics are the song of a bespoke foam party provider's website.

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Mark E Smith Tribute Foam Party, 2018

http://www.foam-party.co.uk/what_to_wear.html