Nothing matters now, nothing matters, and nothing matters, O yeah!*
2008. Timber, enamel paint, screen. Digital Video. One minute loop
Installation Shot as seen in
'We've Got a Love like Electric Sound'**
with Sally Tape's vinyl piece:
New, New Artwork (hell, yes!)'Which may be why the best love affairs are electronic, foreign or architectural'***
Detail of video screen
Similarly in this work, footage has been selected from a 1982 The Jam concert, though this time a live studio performance. In this selection a group of adolescent boys fill the screen with in sweeping post-punk and pre-mosh dance motions, slowed down into a mesmerizing mash of colour, energy and movement. The boys move and interact with such intensity and motion, at one moment quite beautiful and at another threatening, that the work is at some times expressive of the joy of such a tumultuous physical expression of musical interpretation and unity of experience, and at others a very masculine space that could as easily be read as a scene of violence as a scene of dance or pleasure. Again ideas of collective actions are explored, in particular the behaviour induced by fans relationships to music, performers and with each other.
*Title from Franz Ferdinand, ‘Michael’
**Title of exhibition taken from Suede's 'Electricity'
*** Irene Cheng, "New, New Museum" frieze issue 111, Nov-Dec 2007
