➤ These were our inspiration…
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◼ IN THE 50s MOLLY PARKIN PASSED THROUGH Goldsmiths and Brighton art colleges painting and teaching. She became an arbiter of Swinging 60s style as fashion editor of the avant-garde Nova – one of the six postwar magazines that changed the face of British publishing. She liberated fashion journalism from the tyranny of high society, moving on through Harpers & Queen and The Sunday Times to create visionary images with a rising generation of photographers such as Peccinotti, Duffy, Sieff and Feurer. Simultaneously she was running her own Chelsea boutique and Belgravia restaurant while unwittingly inspiring the cub who set out as a trainee on Nova and would one day create Shapersofthe80s.
In the 1970s, as a chatshow celebrity and libidinous novelist, she wrote a wild weekly interview in the Saturday Evening Standard, indulgently edited by yours truly, selecting candidates from her eccentric circle of hedonist friends, among whom Rose Lewis the Knightsbridge corsetiere was but typical.
In the 80s she became an honorary Blitz Kid, compered the Alternative Miss World contest, threw decadent parties every Saturday night in Chelsea and toured a solo stage show. In the 90s she had a facelift and wrote a sensational autobiography called Moll. In the Noughties she returned to extremely vibrant painting and hosted a clubnight at the Green Carnation as a Granny deejay.
In 2010, she has been covergirl on the launch issue of Eulogy, the spanking new magazine dedicated to dispelling the taboos surrounding death. Her memoirs Welcome To Mollywood were published in October. Meanwhile (June 24-Sept 19, 2010) she was exhibiting herself at the National Portrait Gallery, London, in the annual BP Portrait Award show on the noble canvas, above, by Darren Coffield, a painter and gallerist closely associated with the emergence of the Young British Artists (YBA) movement.
ANDREW LOGAN. BRITISH ARTIST.
Alternative Miss World Show 1972–2014
◼ “THE PERFECT FILM COMEDY” — The Hollywood movie Some Like it Hot also created the perfect screen drag act in Tony Curtis and Jack Lemmon disguised as Josephine and Daphne, two jazz musicians on the run from the mob in the Roaring 20s, who pal up with blonde sex-bomb Marilyn Monroe as Sugar Kane. These ain’t no desperate trannies but out-and-out comic performances in drag, Lemmon playing it for laughs, but Curtis maintaining a straight face throughout. Clubland queens don’t even come close.
◼ AS FONT OF THE 20th-CENTURY AVANT GARDE, the subversive tastemaker Marcel Duchamp (above) kick-started conceptualism in 1917 by exhibiting a ceramic urinal he titled Fountain. Recently 500 experts voted his readymade the most influential artwork of the 20th century. In the video above Joan Bakewell interviews him in 1966, two years before he died. His spoken English is eloquent. Below, Robert Hughes gathered several Duchamp interviews in The Mechanical Paradise, episode one of his landmark TV epic, The Shock of the New (1980).
◼ THE CABARET VOLTAIRE WAS HELD in a back room of the Holländische Meierei tavern at No 1 Spiegelgasse in a seedy quarter of Zürich in neutral Switzerland (Lenin was living at No 12 and plotting the Russian revolution). In this haven for disillusioned intellectuals from all over war-torn Europe, the cabaret ran for five months as refugee artists besieged the place.
Here on June 23, 1916, Hugo Ball created “verses without words” dressed in a cubist cardboard suit – as the inscription says (above): „Verse ohne Wörter“ in kubistischem Kostüm. The text of one of his “sound poems” titled Karawane was placed on music stands. His performance began “slowly and solemnly” but soon became a chant reminiscent of the Catholic liturgy as it climaxed: “Blago Bung Blago Bung Bosso Fataka!” With sound poems he hoped to do away with “the language devastated and made impossible by journalism”.
Weary of war, Ball, Tristan Tzara, Jean Arp and their followers endlessly disputed the “future society”. They wished to destroy accepted values and to prick bourgeois sensibilities. Their exhibits and performances grew more daring, pushing the limits of respectability. This was a movement without a name. How to agree one? In anarchic fashion — the poet Tzara stuck a knife randomly into a dictionary. Beneath the blade he found the word dada. It means “hobby-horse” in French, “Get off my back” in German and for the Romanian refugees, a sarcastic “Yeah, right”. Tzara saw it as the perfect word to signify meaningless babble.
Dada had hardly been born when the owner of the Meierei could take the mayhem no more and evicted the Cabaret Voltaire. The Dadaists determined to launch their manifesto with a soiree which would go down in history. On July 14, 1916, they rented the Waag Hall, for one night only. Ball read out his own version of the Dada Manifesto amid wild antics, “multi-media” displays and much absurdist chaos. Every gesture and every move was calculated for the most impact and shock in the audience. Tzara’s own manifesto nailed the name: “Dada dada dada, the howl of clashing colors, the intertwining of all contradictions, grotesqueries, trivialities: LIFE.”
Thus, Dada was officially launched as the anarchic anti-art movement which sought through unorthodox techniques, performances and provocations to shock society into self-awareness . . . In 1980, Dada was alive and well among the art students of central London.