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Disposal

After a light breakfast of toast, one slice with peanut butter one with butter, and a cup of Darjeeling tea. I settled down to read the morning paper. The most note worthy headline being “ELO Cellist Killed by Bale of Hay”. Wondering for a while if this was code I shaved and showered and sat down to a little research. Being a neat person I decided to concentrate first on the disposal of bodies. I decided to work with a figure based upon 1000 artists as this could be easily factored for higher numbers. Bodybags were easy to come by from the US. A standard bag comes to $15 each. At current exchange rates this leads to a cost of $15000 = £9,851.61. There are many waste disposal firms based in London. I decided to go with AnyJunk. They quote costs for removal at £309.03 for a 2 tonne truck load. I calculated that regional aspiring artists tend to have a low bodyweight due mainly to fashion and poor nutrition and decided to go with an average of 65KG per artist. 100o artists would generate an estimated 65 tonnes of waste necessitating 33 truck loads, leading to a grand total of £10206.90. Thus total disposal costs would be £20,058.51. At roughly £20 per artist this seems very economical.


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Here follows a first draft of my secret plan and Arts Council Grant proposal. I did worry that revealing my plans so early might scupper them. But this didn’t stop Goldfinger or Blofelt or Scaramanga or Dr No or Hugo Drax or Mr Big.

Rationale
1. In 2004 the number of artists in the East End of London alone was estimated at 10,000. Every year art schools produce thousands more

2. Under current funding this number is clearly unsustainable.

3. The world is in the grips of a global recession and Arts Funding set to suffer serious cutbacks over the next few years.

4. In order for my stock as an artist to rise, it is necessary to remove as large a number of rivals as possible.

5. Thus a controlled culling of a large number of artists will begin to tackle the both the national crisis and prove beneficial to my career.

6. It is not anticipated that the public or authorities will pursue the culling of even a significant proportion of this sector. A recent article based on a survey commissioned by the Threadneedle art prize concluded that 2/3 of the public agree with cutbacks in the arts.1

The Plan

1. To gather together and humanely destroy a large number of artists across a number of regional centres.

2. To set up a special extermination “gala event” for the top 100 UK Artists.

3.All events will run concurrently.

4. To kill those artists using nerve gas and dispose of the bodies in landfill.

5. In each case I will reveal my plan to the assembled audience much the same way as Ian Fleming’s Goldfinger spells out his attempt on Fort Knox to his semi-unwitting accomplices (and then kills them). There is no need for this, I just want to do it.

Requirements for elimination of lesser artists.

1. The lure.

a. It is intended that this lure will also generate some funding (see match funding)

b. It will take the form of a conference entitled “Fairness in the Arts” and an open art exhibition offering the largest prize ever from such an opportunity. A submission fee of £5 will be charged. This represents one of the cheapest open exhibitions on the market and should prove popular.

c. The prize of £1,000,000 will of course never be collected.

2. Advertising.

a. Full page spreads in all of the major art publications (commissioned articles in Art Monthly, Art Review and Artists Newsletter)

b. A website and online advertising.

c. Artists will be able to pay through Paypal.

3. Large spaces in each of the main cities.
a. The hire of a large space with vehicular access
b. There will be spaces in London, Manchester, Birmingham, Bristol, Newcastle, Glasgow, Portsmouth, Cardiff, Nottingham and Cambridge.

4. The Coupe de Grace.

a. On the day of the art delivery and conference the artists will be gathered in a large hall facing a video screen.

b. All organisation and ushering will be performed by unwitting henchmen (probably students or recent graduates working on a voluntary/intern basis).

c. Before the presentation they will be invited to join in a mass artwork by climbing into the bodybags provided. (it is not anticipated that everyone will join in, but this should decrease disposal costs.

d. They will watch a video presentation explaining the real reason behind the conference. (video projector and screen)

e. Nerve gas will be released.

f. Once the gas has dissipated the bodies will be collected in trucks and added to landfill.

I have exceeded the word limit.

The second part of this plan can be seen at:

http://www.pearlville.blogspot.com


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A week at work without students has created a horrible inertia in me. It is a strange sort of torture being trapped in a grey empty building waiting for something to happen. It is a cliché to suggest one’s workplace is prison like but the architects do seem to have drawn more than a little influence from Alcatraz. At home the bins are still creating problems. The orange sacks we were promised have not yet arrived. Also now without my regular ministrations our downstairs neighbour’s bins (not our bins, we have no bins) lurk un-emptied. They sit like vomiting toads waiting to engulf us as we edge past. I have been working a little on future projects. and a little on “career administration”. I was glad and a little perplexed to recieve an email from Saison Video in Lille saying that I had been recommended to them and could I send a dvd so they could review my work. I did wonder if they had lost the last one (sent unsuccessfully a few years ago at the same request). Or that perhaps they needed a new coffee mat. Nevertheless I dutifully burnt a massive dvd and posted it off to them. In the studio work has been fitful and has largely involved ruining existing pieces. I have painted what can only be described as “backgrounds” and made some tentative photographic experiments involving airplanes. Though I feel I may be treading over old ground something may come of it. Otherwise I have finally got down to writing my multi-million pound Arts Council Grant, a precis of which I shall publish in the next post.


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