Page 15 - Studio Internationa - March 1971

VOICES: They're coming now. News and notes
E: You're an attendant and as an attendant Three or four well-dressed men approach E, quickly
you're not letting me in with my hat on. and immediately lay hold of him in an attempt to
ATT: I'm awfully sorry I can't. Until we get a shove him out. Several spectators watching
ruling on it. incident prevent action.
E: Oh, well, when will we get a ruling on it ? E: Ah, he's using force in keeping me from
ATT: Probably about half past five, six o'clock. entering.
CUT SECURITY OFFICER: Would you mind leaving the
E:... that I'm getting a ruling on this, I'd like to gallery, please ?
see somebody there. Can you phone somebody E: I would like to know why, sir.
up in front of me ? ATTACK (Two security officers and a guard lay
s: We have already phoned; Mr... hands on E).
E: I don't believe you. I didn't see you phoning. E: You're touching me. You're touching me.
S: You didn't see me phoning because I I'm not creating a disturbance.
haven't phoned, but the gentleman has phoned. STRUGGLE (with microphone). E's arm is strongly
E: Which gentleman? held and twisted.
s : I'm not prepared to discuss this any further E: You're insulting me.
with you until a ruling arrives. Now you can SEC. OFF: Get that away from him.
switch that— E: You're touching me physically.
E: I'm asking about the ruling, because I'd like (They move off to call the police. E is held by
to get in. attendant).
s : You're wasting your tape now. SIGI: You musn't! You know that! I mean...
E: I'm not wasting my tape and oh, well,... so into trouble.
what ? He, he. You're suggesting I shouldn't ATT : ... this gentleman—(in whisper)
waste my tape ? SIGI: But you musn't touch him!
CUT ATT: Look, all right, I'm not going to touch him
E (addressing the supervisor again): Could you any more, let's be careful. Art of the Child, a new colour film specially
give me the name of the person I could approach E:... cause you just mangled me, sir. You just commissioned by the Sunday Mirror and directed
personally ? (Silence) What is your... L. touched me and my finger hurts very much. by Bill Latto, includes some of the best work seen
H... L. Supervisor. Mr L., could you give me ATT (loud whisper): This man is ... is allowed to at the National Exhibition of Children's Art and
may be obtained on loan from Town and Country
the name of the person I can approach, come in as long as he takes tha' off. Tha's all i' Productions Ltd, 21 Cheyne Row, London SW3
personally, to get into the Tate ? (Silence) Mr L ? is. If 'e takes tha' off e's as free as a daisy...free (tel: 352 795o). The booking fee is £1.75
(Silence) Well then, I will walk in... (L. grabs E's as wha'ever you are. Now why, Why can't 'e Entries for this year's exhibition, to be held in
arm) Mr L. You're using... you're going to use do it? September, should be submitted before 20 March.
force on me. E : All right. I will take it off right now, and
L: I'm using no force. then... Six artists exhibited at the Museum of Modern
Art, Oxford, last month: Lygia Clark (`Tunnels',
E: Well, somebody is using force on me. ATT : That's right sir. `Living Mandalas' and 'Elastics'), Li Yuan-Chia
ATT: Ah, well. Ah, we are waiting... E: ...I will confront you because you have (environments), John Dugger (`body conductors'),
E: You're actually using force on me. mangled me and I will accuse you to the police. Helio Oiticica (`Made-on-the-Body capes'),
ATT : ...for instructions. That's all we got to do. ATT: All right. Graham Stevens (inflatables) and David Medalla
E: Well, then I'm asking you, as one person to E: Because it's all taped. (whose work examines the contrapuntal
another, who... ATT: That's right. possibilities of crystalline and organic growth in
L: We have explained it to you that somebody is E: All right. I will accuse you to the police of terms of elements and people).
coming down. actually using bodily harm to stop me from `Space' has four studios for rent. Prices
E: I'd like to know the name of that somebody. entering the Tate. range from £25 to 5o per month for 100—2000
ATT: You'll find out when 'e comes. L: I have not touched you... square feet. Space has recently moved to 71
E: When will he come ? At five thirty as you E: You have touched me and I have witnesses. Stepney Green and Martello St, London Fields
said ? L: I have not touched you. (tel: 790 2288). Richard Leachman, the secretary,
ATT: 'e won't be long. E (Turning to by-stander): Will you act as a says, 'The new studios are self-contained, and
E: I can't wait until five thirty. I have to see the witness that both touched me ? cleaner and warmer than the previous ones at
works. L: I have NOT touched you. St Katherine's Dock. A lot of our time has been
L: You may see the works if you take that thing E: Mr L... H.L. You have touched me. taken up helping other sites and we're willing to
help anyone ready to start similar projects. We're
off your face. L: I am not prepared to argue any further with
E: This is a personal thing ? Or is this a museum you. also looking for additional premises.'
thing, Mr L ? E: All right. Then I will walk in. Thank you very Art in Revolution, an Arts Council exhibition
L: The museum.... much. at the Hayward Gallery (26 February-18 April
E: This is a museum rule ? L: You may. You have taken that thing off. 1971), shows how new ideas in art were put to
L: COMMON SENSE! CUT work in a revolutionary social context. The theme
E: COMMON SENSE? is Soviet art and design after 1917. Before 1917
Malevich, Tatlin and other Russian artists had
L: Yes. found their way through west-European artistic
E: I debate your common sense, sir. I'm On February 4 at the Sigi Krauss Gallery, Felipe developments, notably Cubism and Futurism, to
walking in. Ehrenberg and other members of the Polygonal more radical concepts and idioms. The 1917
CUT Workshop staged a 'Rubbish exhibition' Revolution swept them into leading positions in
L: There's some gentlemen coming now... (originally triggered off by the last dustmen's the Soviet state, enabling them to reorganize art
E : ... You're using force...you're pushing me. strike) presented as a continuing situation in which and design training. Social and economic
ATT: No, I'm not. the public's ideas were processed by Polygonal developments demanded the close involvement of
E: You're pushing me. Workshop. art with practical design problems and also with