//Viewing exhibits in Gallery 2 at John Hansard Gallery. Pic JHG//
The opening of new exhibition Eyes For Blowing Up Bridges: Joining The Dots From The Situationist International To Malcolm McLaren at the weekend was a great success.
//Visitors Nick Abrahams + Suze Malyon with their dog Mrs Shufflewick//
//Rebecca. Photo: Jean-Francois Carly//
//Ale. Photo: Jean-Francois Carly//
Surrender After is the title of photographer/director Jean-Francois Carly’s show of nudes opening at Forge & Co in east London next week.
//Positioning the 430 shop logos in the Malcolm McLaren room at Art In Pop. Photo: Magasin head of production Eric Pourcel//
‘Black is the most exciting colour’ (Goya). Black when used in different ways appears the most infinite and mysterious, the most spatial and loose.
Malcolm McLaren, essay for course at Croydon Art School, 1967
It’s exciting. Work is underway on building the Art In Pop group exhibition which opens next month at Le Magasin, France’s National Centre for Contemporary Art in Grenoble.
//McLaren’s first logo at 430 King’s Road was featured on the side of a 12m installation at Let It Rock at CIFF this summer. Foreground image of McLaren in Central Park, spring 1975, by Bob Gruen. Photo: Jean Francois Carly/Malcolm McLaren Estate//
//The Too Fast To Live shop frontage in this 60 x 40″ blow-up at CIFF//
Featuring artworks by musicians such as Don Van Vliet and Daniel Johnstone as well as musical ventures by artists including John Armleder and John Miller, Art In Pop incorporates the sizeable space dedicated to Let It Rock, the show exploring the work of the late Malcolm McLaren.
This will focus on McLaren’s investigations into the visual arts from the 60s to his death in 2010 along with the engagements with commercial media such as fashion, film and music for which he is best known.
In line with Let It Rock’s manifestation at the Copenhagen International Fashion Fair this summer, the pink-on-black Let It Rock sign will be recreated, this time at the entrance to the Malcolm McLaren room.
For Art In Pop the sign is being matched by a giant reproduction of the shop logo which followed Let It Rock at 430 King’s Road: Too Fast To Live Too Young To Die.
The dominant use of black behind these logos riffs on McLaren’s repeated use of the colour in his work and should make for an impactful introduction to the show, which will feature hundreds of exhibits from throughout the cultural iconoclast’s artistic life.
//Founded in 1986, Le Magasin – Centre National d’Art Contemporain is housed in an industrial hall built for the 1900 Paris World’s Fair by the workshops of Gustave Eiffel//
Art In Pop – which is curated by Magasin’s Yves Aupetitallot with John Armleder, Young Kim of the Malcolm McLaren Estate, John Miller and I – runs from Oct 11 to January 4, 2015 at Le Magasin, 8 esplanade Andry Farcy, 38028 Grenoble.
More info here.
//Foreground: Mobile featuring portrait of Malcolm McLaren in Central Park, NYC, 1975 by Bob Gruen. In the background the 12m-long Let It Rock installation. Photo: Jean Francois Carly (c) Malcolm McLaren Estate//
//McLaren’s Buffalo sheepskin with Witches multi-tongued shoes contributed by designer Kim Jones. Photo: Jean Francois Carly (c) Malcolm McLaren Estate //
//Outfits float in the air, from left: Pirate waistcoat and dress worn by Annabella Lwin of Bow Wow Wow in performance; Let It Rock shawl collared blouse and circle skirt; Nostalgia Of Mud wool toga dress with Folkways print. Malcolm McLaren Estate, Kim Jones Collection, private collection//
The response to this week’s Malcolm McLaren exhibition Let It Rock has been very encouraging; here are some images which hopefully give an idea of the show’s impact.
Running for four days at Copenhagen’s Bella Center as part of the Danish city’s international fashion fair CIFF, the show – curated by me and Young Kim of the MM Estate – focused on the late cultural iconoclast’s engagement with fashion with Vivienne Westwood in the 70s and 80s.
We have received favourable press, with particular praise from the FT’s Charlie Porter, who wrote that the hang of the garments was “exceptional”. Meanwhile style blogger Susie Bubble described the exhibition – full title Let It Rock: The Look Of Music The Sound Of Fashion – as “incredibly detailed and well put together”.
//Young Kim in jacquard Keith Haring print Witches two piece and multi-tongued sneakers. All clothes from Kim Jones coillection. Photo: Jean Francois Carly (c) Malcolm McLaren estate//
//Fans belt buckles with Fans press statement. Sources: Malcolm McLaren Estate and private collection//
//Press invite and showcard for the sixth catwalk collection designed by McLaren and Vivienne Westwood: Worlds End 1984, later Hypnos. The partnership was dissolved in March 1984. Malcolm McLaren Archive//
//ROCK! Marco Pirroni’s Let It Rock ties//
We designed the show centrepiece: an imposing black corrugated iron-clad 12-metre long tunnel installation celebrating McLaren’s first shop, Let It Rock. Among the exhibits inside were previously unpublished photographs of the shop interior taken by the late David Parkinson and an original shop price list owned by McLaren. A bespoke soundtrack blared music as featured on the jukebox at 430 King’s Road as well as personal favourites of McLaren’s, from Burundi Black by the Drummers Of Burundi to Cast Iron Arm by Peanuts Wilson and Hallelujah I’m A Bum by Harry “Mac” McLintock.
//Installation exterior//
//Installation interior//
//Let It Rock display cabinet, January 1972. Photo: David Parkinson//
//McLaren’s framed copy of the LIR price list he designed in 1972. Malcolm McLaren Estate//
//January 1972. Photo: David Parkinson//
///Tracklisting for songs played in the insatllation//
The show was subdivided into six areas each dedicated to a manifestation of the outlets McLaren operated with Westwood. These were signposted by 60 x 40″ photographic blow-ups of the exteriors we commissioned to be printed on canvas to add dimension and presence.
//Let It Rock exterior with McLaren in foreground, 1972. Photo: Mirrorpix. Printed on canvas 60 x 40″//
//Too Fast To Live Too Young To Die with McLaren and Gerry Goldstein in foreground, 1973. Photo: Malcolm McLaren Estate. Printed on canvas 60 x 40″//
//Sex with shop assistant Jordan in foreground, 1976. Photo: Sheila Rock. Printed on canvas 60 x 40″//
//Seditionaries frontage, 1976. Photo: Ben Kelly. Printed on canvas 60 x 40″//
//Worlds End frontage, 1981, photo: Sheila Rock. Printed on canvas 60 x 40″. Left: Marco Pirroni’s Let It Rock drape suit//
//Nostalgia Of Mud, 1982. Photo: Sheila Rock. Printed on canvas 40 x 60″//
With text panels explaining exhibits in McLaren’s own words, each section also featured photographic mobiles suspended from the ceiling and Perspex-topped vitrines containing original garments, photography, notebooks, sketches and ephemera.
//Customer deposit receipt, Sex, 1976. Signed by shop assistant Michael Collins. Paul Burgess Collection//
//Pages from McLaren’s 1976 notebook. Paul Burgess Collection//
//McLaren’s handwritten Nostalgia Of Mud press release for Vivienne Westwood; her version in her own handwriting. Photo: Jean Francois Carly (c) Malcolm McLaren Estate//
One area of the show was dedicated to 10 outfits reflecting the span of the designs from Let It Rock to Nostalgia Of Mud. Our solution to the ticklish problem of how clothes are presented in exhibitions was to fly these from the ceiling between sheets of Perspex, and we made a selection from the Estate archive as well as contributions by the likes of Louis Vuitton’s style director Kim Jones and guitarist/songwriter Marco Pirroni.
//Nylon top, Sex, 1976. Peg trousers, Let It Rock, 1974. Kim Jones Collection//
//God Save The Queen Muslin top, Seditionaries, 1977. McLaren’s bondage trousers, Sex, 1976. Malcolm McLaren Estate/private collection//
//Witches jacquard two piece and scarf with Haring print. Kim Jones Collection//
In the projection room visitors viewed moving images associated with McLaren, from rare film of the catwalk shows he conducted with Westwood in the early 80s to video clips for his hits such as Buffalo Gals and Soweto.
//Marco Pirroni’s print pirate boots, Worlds End, 1981. Top worn by Annabella Lwin of Bow Wow Wow in performance and subsequently dyed. Private collection//
//Savages Navajo print dress with McLaren’s annotated copy of Indian Rawhide. Both private collection//
//Invitation to Witches collection show, Folkways top, Dances Of The World’s People. Malcolm McLaren Estate/private collection//
//Two rubber bracelets deisgned by Tom Binns for Worlds End S/S 1984 with Hobo-Punkature top and Worlds End 1984 invite. Malcolm McLaren Estate/private collection//
//Document confirming the dissolution of the design partnership between McLaren and Westwood, March 1984. It is important to note that McLaren did not relinquish authorship over the works they produced together//
//The final exhibit: Buffalo hat and McLaren’s Chico hat. Kim Jones Collection/Malcolm McLaren Estate.//
Many visitors told us they were bowled over by the show; now we are working on another McLaren exhibition as part of Art In Pop at Le Magasin in Grenoble, France, this autumn. This will encompass McLaren’s creative output from his art-school days through his careers in fashion, music and film to his final works as a visual artist. I’ll keep you informed; it runs from October to January next year.
Follow these links for media coverage of Let It Rock:
Charlie Porter – At the Malcolm McLaren show in Copenhagen, the hang of the garments is exceptional
W Magazine – Celebrating the fashionable life of the late punk pioneer
Style Bubble – Let It Rock: The Look Of Music The Sound Of Fashion
GQ – Four ways Malcolm McLaren revolutionised the style scene
The Cut – The Man Who’s Partly Responsible For The Pharrell Hat
Thanks go to CIFF fashion/design director Kristian Andersen and creative directors Pierre Tzenkoff + Arnaud Vanraet for their foresight in commissioning this show, and also to the exhibition architect, the talented Jean-Christophe Aumas and his excellent team of builders, particularly Annette, Henning + Stefan.
| Paul Gorman is a writer. This is his blog: art, books, conversation, cults, dancing, design, encounters, environments, events, film, galleries, groups, individuals, invitations, magazines, music, opinions, performance, photography, places, press, privacy, spaces, style, thoughts + views. |
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