Prayer (O Dr. Jesus)
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An art dealer, bought an entire downtown building to make into a yuppster hotel or something. 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. 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 Forniellis reading group 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 basket painting, or an Eddie Peake painting, towards how they can operate the means of social production itself ahead of time. Like the serpentine gallery and Yanna Peel and NSO group weapons all doing that stuff last year, overlapping. The idea the context is all that there is, a sort of pretext for paintings to execute
Recording of Richard Parry studio. Released by Richard Parry studio and Magaluf gallery.