“The X Factor it’s not music anymore, it’s karaoke. They are training them to be part-timers on a cruise ship. I despise the wickedness they put those people through. It’s a serious painful endurance course that they could all do without. It’s hard enough to be a singer in the first place but then to have to go through that judgmental sarcasm is quite appalling” said Johnny, “Usually from people who aren’t up to the top notch they expect the participants to be in. And introducing that vile element of competition in music. Surely that’s soul destroying in itself?”. Have to love almost everything Johnny ever says, his ticket prices recently have been a bitter pill to swallow, he is always worth an ear though and his judgmental sarcasm can be a delight. I’m not a fan of judges and none of this has anything to with just refusing to accept a space in an art show that would involve a public vote and a judging panel. Four artists up against each other and some kind of public judging panel, no.
But I do rather like the Turner Prize, true, I didn’t like this year’s Turner Prize that much, but I do like the Turner Prize and all it stands for, (I don’t like Michael Gove, what a vile man), the thoughts on these pages concerning the Prize this year caused a bit of barbed bite or two to fly this way (thanks, we like to know what you think of what we think), seems we shouldn’t like the Turner Prize. I tell you this today because this just came in, and it might well be worth investigating.
2016 Turner Prize nominee, artist Anthea Hamilton is in conversation with Linsey Young, Curator Contemporary British Art, Tate Britain this Sunday at House of Voltaire, 31 Cork Street, W1S 3NU London, United Kingdom. THe event takes place between 3pm and 4.30pm this Sunday December 11th. Ticket details here Rather curious in terms of what the two of them have to say
About the speakers
Anthea Hamilton (b. 1978, London) lives and works in London. Anthea Hamilton, she was recently nominated for the Turner Prize. Recent solo exhibitions include: Frieze Projects New York, Randall’s Island, New York, US (2016); Love IV: Cold Shower, Schinkel Pavillon, Berlin, DE (with Nicholas Byrne) (2016); Kettle’s Yard, The Hepworth Wakefield, Wakefield, UK (2016); The Magazine Sessions in collaboration with Fiorucci Art Trust, Serpentine Sackler Gallery, London, UK (2016) and a whole load more, Her work has also been shown as part of Newspeak: British Art Now, Saatchi Gallery, London, UK (2010); Art Now: Strange Solution, Tate Britain, London, UK (2008); Martian Museum of Terrestrial Art, Barbican Art Gallery, London, UK (2008); and Blackberrying, Galleri Christina Wilson, Copenhagen, DK (2007).
Linsey Young is Curator of Contemporary British Art, Tate Britain. She has previously held curatorial posts at The British Council, Scottish National Gallery of Modern Art and Inverleith House. In 2013 she instigated the project space YOUNG TEAM.
About House of Voltaire – House of Voltaire is a temporary store selling a diverse range of unique artworks, limited edition prints and specially commissioned homewares, clothing and accessories by leading contemporary artists and designers. In partnership with QIC Global Real Estate and Farfetch. All proceeds support London-based arts charity Studio Voltaire’s renowned gallery and education programmes. House of Voltaire can be shopped year-round online and at special intermittent international presentations.
And while we’re here, we’ll just pass this on a third track from the upcoming Stanley Brinks & The Kaniks collaboration, ‘You Broke My Heart’ has just been posted, we’ll leave it here for you to enjoy…
Stanley Brinks – aka André Herman Düne – returns with the new double album ‘Vieilles Canieques / Nouvelles Caniques’, the follow up to 2016’s Record Store Day Release ‘Turtle Dove’. Once again he is joined by the Norwegian folk collective The Kaniks, this time stripped back to a two piece of fiddle and banjo, ‘The Old Time Kaniks’.
“This double album of modern day folk tales of love, loss and mischief was recorded during the same time period as ‘Turtle Dove’, on a remote island outside the small town of Egersund in south west Norway. Over the course of a week of midnight sun, midnight swims and midnight beers on their isolated rocky island, they lived and worked in the only building there, the now-unmanned mid 19th century Vibberodden lighthouse. Originally planned as two separate albums, the fact they were recorded on consecutive days, with the same band, it felt natural to present them as a double. Thematically, apart from the titles – ‘Vieilles Caniques/Nouvelles Caniques’ ‘Old Kaniks/New Kaniks’ – there are some subtle differences between the two, a little more heartbreak and longing on the first, the second, lyrically a touch more content or resolved, something transitional in the life of SB maybe…though there’s plenty of songs about drinking on both too…! So possibly, the recording of ‘Old’ followed by an evening partying through the night in the lighthouse with André, transformed to the (bleary eyed/sore headed) ‘New’ the following morning! Brinks is renowned for his unique anti-folk style: both playful and suggestive, insightful and entertaining. His mastery of storytelling, presented in both English and in French on these albums, brings us to the heart of the free-spirited world of Brinks’ life as a touring musician. His fondness for calypso and the unusual provide the perfect foil to The Kaniks, whose folk instrumentation and country and bluegrass influences take this double album to a joyous place Brinks hasn’t been before in his extensive back catalogue”.