originally we were secretly drafted into design the cover for ArtReview’s march issue dedicated to the younger cousin of that filthy behemoth the Power 100, the Future Greats; or as it was originally known: The Boarding School Ritual Fondle & General Brown-Nose Awards for Best Limpets. but that title was a bit too transparent for intents and purposes so it was shortened to Future Greats.
sadly our cover designs were rejected for being too avant-garde or something, but we present them here for you (the audience) to have the final say!
we sent the interns out into the shitty weather to find some art for us and report back. since last year’s new contemporaries and other independent exhibitions we’ve generally been informed that the cutting edge of physical non-internet art is ceramics or other formerly artisan/industrial mediums that are primarily used to make useful household objects or build buildings. but no longer! liberated from the tyranny of being functional, glazed or processed stuff that kind of looks like a useful jugthing but is 100% not useful jugthing has now achieved art status. sometimes you can arrange them on a 90s spraypainted table or just leave them to bask in their glory.
we’ve forgotten who did this, our collective brain wants to say robert kilroy-silk even though that’s totally wrong. it was a robert something. whoever it was done by, it was selling for £600 exc. VAT which you could buy a second-hand kiln for. as you can see, it kind of looks like a vase or something but totally isn’t! right on! note the purposefully childish illustrations of comedic juxtapositions. this is because the work deals with “loaded subjects” in an “irreverent fashion” or in other words looks like an idea pinched from VIZ magazine. this trend was bubbling away long before grayson perry did his reith lectures, but note his M.O. of using artisan-craft methods in art production are skewed in this ‘new school’. perry’s pots and other ephemera were intentionally ultra-traditional methods of narrative via craft albeit with contemporary subject matters. yet they were identifiably pots or fabrics (which was the point, familiarity yeah?) while these are not constrained to such restrictions, man.
SO if you’re an artist wanting to break into this scene instead of the other one(s), here’s some ideas for ceramic works we’ve come up with for you. these have been tested against 100% official contemporary art criteria and desires.
feel free to use/modify any or all of these ideas with our blessing. although if you do make ‘SCRONUS THE LANDER’ please send us an edition and we’ll love you forever x
this is what the internet looks like in the film ‘the fifth estate’. now… in a reeling prose that would make a local exhibition reviewer in the back pages of frieze magazine blush, we will describe it thus: NOTE the endless repetition of desks and lights, a possible referential nod to kippenberger and flavin and blaghlkaseokdfk. note the lack of ceiling, because obviously the internet is quite big. note the replicating cumberbassange, indicating the human psyche’s internet aided virality accross networked points or something like that.
we post this as it’s one of the first visualisations of the internet we’ve seen that doesn’t involve techno lasers in a dirac sea. however it’s from a very boring 90s tradition of digital-network-aesthetic-as-replication which was sired into the visual film lexicon by that classic, the matrix. we’d live to advise future film makers representing digital space to avoid infinite repetitions and office furniture. the windows 95 screensaver ‘pipes' had the right idea.