ORGAN THING: Pure has nothing to do with clean, Paul Sakoilsky, Cedric Christie and who cares about about the temperament of artists disagreeing with artists? The start of yet another art show…

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‘PURE HAS NOTHING TO DO WITH CLEAN’ – Angus-Hughes Gallery, London E5. October 2018

PURE HAS NOTHING TO DO WITH CLEAN‘ – Paul Sakoilsky and Cedric Christie at Angus-Hughes Gallery, London E5. October 2018 – It really is good when it happens in a spontaneous way, really must ask Paul Sakoilsky (or Cedric Christie) how this one actually came about? Paul said something about having something like ten days warning when he asked me to take part – yeah right,, declaration time before we go any further, I’m writing about an art show that I have a piece in yet again, more damn blowing of my trumpet and if we don’t cover these things then who is going to? Like we’ve said before, the self-appointed art media don’t really appear to like actually getting out to galleries and getting their hands dirty, they don’t really like coming out and actually checking out these things (I couldn’t care less said the one in the hat , they don’t get much further than the press releases in their in-boxes and that last Paul Sakoilsky show (with Paul Renner) over at Gallery 46 a couple of months back really was one of the standout shows of the summer, it deserved far more coverage than it actually got – didn’t see any coverage besides the coverage here on the Organ pages did you? So yes, blowing our own trumpets and yes, anger is an energy (as Mr Lydon once said), lot of damn good art happening with very little acknowledgement or documentation from any of those so-called art journalists, not much actual getting out there and walking it, pure has nothing to with anything much when it comes to covering the things that are really happening in terms of art in this town and we make no apologies for writing about these things we’re involved in, pass the trumper and bring on a full stop. And hey, my piece in this particular show is a very very small part of what is a shaping up to be a rather promising show. Promising? Well yes, a strange thing to say about a show that already opened last Friday evening up on the edges of Hackney where things become Clapton, but this really is a show alive with promise and it really doesn’t look like it will be about the start and the opening night as much as it will be about the last few days and the finissage or whatever you want to call it. First I heard of the show was last week sometime when Paul invited me to contribute a text based reaction to the argument or the debate or the whatever that he and fellow artist Cedric Christie had been having about things pure and clean and –

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‘PURE HAS NOTHING TO DO WITH CLEAN’ – Angus-Hughes Gallery, London E5. October 2018

“In the upstairs gallery Cedric Christie & Paul Sakoilsky are creating an exhibition based around a conversation Paul had at a feast in Sorento recently, where a guest turned to his daughter at the table and claimed Paul ‘was pure’. Some eyebrows were raised; at which point she continued, ‘I tell you, pure has nothing to do with clean.’. For the exhibition Cedric and Paul are disagreeing about the temperament of artists in this present time. What does it mean to be permanent and what it means to be in flux. The pros and cons of these positions. Cedric says ‘You’re permanent when you’re dead, you don’t move a lot.’ And Paul would like to know where he is going to be tomorrow. Both of these positions hold a particular energy in which work is made – an inquiring as to whether one is at the end or the beginning. Paul Sakoilsky will be relocating his studio into the gallery, making new work, and setting up the latest Dark Times Press Office. Cedric Christie will install a Grid Impact Drawing, onto which other works will be hung. The show will be constantly evolving with works added during the period of the exhibition. The gallery/studio becomes a space of dialogue in the tradition between artists and works”

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‘PURE HAS NOTHING TO DO WITH CLEAN’ – Angus-Hughes Gallery, London E5. October 2018

– you see, like we just said, a show that promises and an opening that really does look like it was just that, an opening, a start of things, the beginnings of art show that will go on until Sunday October 28th, a show we’ll need to revisit several times before we can really write something constructive about it. For right now, this piece is just to inform and to maybe offer a flavour and a fractured photo or two a hint of a show that has only just started…

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‘PURE HAS NOTHING TO DO WITH CLEAN’ – Angus-Hughes Gallery, London E5. October 2018 – Paul Sakoilsky

The upstairs part of the show in the main body of the gallery, Includes (or is set to include) contributions to the debate from Oliver Abraham, Jamiu Agboke, Dr Eliot Albers, Kirsty Allison, Maria Arceo, Karen Ay, Jonathan Barrie, Joe Broughton, Deborah Curtis, Adam Dix, Alice Herrick, Richard Holley, Charlotte Hopkins Hall, Tom Hunter, Maria Graff, Dick Jewell, Thomas Langley, Claire Lawrie, Lee Maelzer, Lance Martins, Sophie Parkin, Martha Parsey, Benedict Philpott, Paul Renner, Pascal Rousson, Joseph Sakoilsky, Amy Stevens, Geraldine Swayne, Finn Thompson, Gavin Turk and me, Sean Worrall as well as Cedric Christie, Paul Sakoilsky. most of the contributions are in the form of written text responses, written word send in via electronic media and printed out mostly on A4 pieces of paper that have been spaced around the walls, on the windows and around the paintings and pieces of Cedric Christie and Paul Sakoilsky.

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‘PURE HAS NOTHING TO DO WITH CLEAN’ – Angus-Hughes Gallery, London E5. October 2018 – Paul Sakoilsky

Have to say the lighting wasn’t brilliant at the opening, dark text in dark corners, who’s done what? Or was that just me? Dark times? It did really feel like a start of something rather than a finished hang, a work in progress, it felt exciting actually, a show alive with possibilities along with just a hint of chaos (and maybe a thought that it might just all fall apart?). An intriguing opening that had the feeling of something that looks like it just might come together and evolve into something rather exciting (and from what we’ve seen via the various social media feeds of participating artists, things appear to have evolved quite a bit over the first weekend) The Angus Hughes gallery, or at least the main upstairs part of it, is a rather formal rather polite space, it feels right that this show is evolving in here though, this is going to be interesting…

Always good to see a wall full of Paul’s Dark Times covers, even better to see those paintings that come with a certain freedom, that comes with an economy, with maybe slightly unfashionable celebration of the traditions of painting? I mean, still life? Wine bottles? Paintings of fruit on a table? There’s something about these paintings of Paul’s that maybe go a little under the radar what with the noise of the Dark Times pieces and the antics of Kuntz the Clown and the cream pies and the writing and the poetry reading and the rest – there’s always a pleasure in the economy of a Paul Sakoilsky rather expressive painting that I really don’t want to have to force myself to put a finger on, something that really doesn’t need too many words or over analysis, I just like looking at those paintings – and occasionally throwing a cream pie at his alter ego clown, is it an alter ego or does it all make sense as one whoe – the traditional paintings, the clowning, the dark times, the whole body of work?

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‘PURE HAS NOTHING TO DO WITH CLEAN’ – Angus-Hughes Gallery, London E5. October 2018

And those kind of racing car typeface logo things down there low down on the wall under the grid that looks like it might be waiting ot be filled, must confess I don’t know who’s work that is right now although I do believe (or at least suspect) it to be that of Cedric Christie, brilliant, love it. Anyway, the show opened last Friday with Paul’s paintings and Cedric’s pieces, with Geraldine Swain’s Faust set lists (she was part of the Faust back there of course), with an appearance or two from the Owlman, with Paul’s studio set up in the corner, with the lyrics of a Gregory Issacs song on the wall, with a whole load more going on down in the basement part of the gallery where there’s a record deck with a painted piece of vinyl endlessly “playing” and well… let’s see what comes of it all, let’s see what comes out of that temporary studio and the grid and the text yet to be added, Oh and The Cellar Gallery contains “9 Conjugations of Purity”, an exhibition put together as part of the Purity or the cleanliness of it all by guest curator Maria Rossetti (an Independent curator and art historian from Milan apparently) as well as a room created by the artist/musician Joseph Sakoilsky. – …

As for that piece of mine – let’s get it out of the way – pass the trumpet, let me blow it, I have been asked about it several times already – spend ages and ages and weeks and months agonising over a painting and all you want to know about is a throwaway piece put together in a couple of minutes on the morning of the hang – and well back in the days of Organ as a proper printed thing you could pick up and turn pages and read, we were foolish enough to let it evolve into, amongst other things, a record label. Most of the record label thing happened back in the last century, and one of the more colourful of the many many label episodes and lots and lots of bands and releases and tales of nights in dumpsters and hands burnt at Huge Baby gigs and the beauty of Cay and Cardiacs and that time when Charlies Angels met Lou Reed and those Cynical Smile blags and the Atom Seed days in fractured Transit vans and run-ins with the Chili Peppers in service stations on the way to Manchester and those adventures in Scotland with Angel Cage and well one of the more colourful episodes involved the then rather obscure underground thing from California called The Brian Jonestown Massacre and those first London gigs we got them over to do that hundreds of people now claim they were at (only thirty or so actually were) and that now infamous twenty track single and all that crap we were tangled up with thanks to those Dandy Warhols and the bits that were eventually cut out of the final version of that documentary and the death threats issued live on stage at SxSW and well, the tales that could told and probably never will be, And so when Paul asked for a piece of text-based art in response to pure having nothing to do with clean – or did he just ask for a text response rather than a piece of actual art? What the hell, he got some text with some leaf growth om a piece of old ORG Records paperwork stuck to a piece of cardboard in a broken Ikea frame found on the Hackney street on the way to the gallery and… The pure and the clean and temperament of artists was chewed on it for a day or two, chewed through in terms of the many ways to response,and lots of words scribbled in a sketch book and when you really get down to it, who really cares if two artists are arguing about something or other? Who really cares about art or artists or my response to any of it? Who gives a shit about art or shows or words or responses…? Who cares, just shut up and paint another heart – I never paint hearts, the last one I did paint was on the cover of a Brian Jonestown single somewhere back in the 90s Who the flip cares? Who? Do I? Do you care if I care or not? Who cares about the purity of art or artists and? Who cares what Paul thinks or what Cedric argues or what Alice Herrick or Gavin Turk thinks? Who gives a think or a fuck? Really, who does? Who cares? What’s the point? And so the wordy responses were left in the sketchbook to be painted over and “Who Cares…” was scribbled on an old Meat Puppets press release that just happened to be lying around on the studio floor and can I be bothered with walking up the road to the gallery with the piece or paper? Who really cares if I do or not? So what if pure has nothing to do with clean?

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‘PURE HAS NOTHING TO DO WITH CLEAN’ – Angus-Hughes Gallery, London E5. October 2018 – Sean Worrall

One of the very first Times I met Paul (and Joseph) we ended up having a conversation about the Brian Jonestown Massacre for some reason or other, Hang on, there must be some old Brian Jonestown Massacre paperwork around here somewhere? the Meat Puppets have nothing to do with me and who cares about them? There’s very little that’s pure or clean about working with bands or indeed artists – don’t ever think of starting a record label and if you ever do, never ever sign Anton Newcombe! Never ever think about putting on art shows or running a gallery or caring about a band, just don’t do it – and of all the bands and artists, well who was the purist cleanest of them all? So up on the gallery wall is an old piece of my history and some art involving the first page of an agreement to sign the Brian Jonestown Massacre and who cares? Anyway, enough of that, it really is a very small part of a rather expansive evolving and potentially exciting (already interesting) show that we’re rather looking forward to getting back to in the next few days. . .

Watch this space, we’ll be back for more in a day or two, if anyone cares… (sw) …

The Angus Hughes gallery is at 26 Lower Clapton Road, London, E5 0PD, the show runs until October 28th (Facebook event page)

Click on an image to enlarge or to run the fractured slideshow…

 

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