{"id":14020,"title":"The KLF – 1994 K. FOUNDATION AWARD","dimensions":"","date_begin":"1993-01-01","material":"Paper","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"1994-k-foundation-award","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Article","nl":"Artikel","fr":"Article"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/215/large/DSC_7986.jpg?1465310005","poster_credits":"M HKA ","translations":[{"locale":"en","short_description":"\u003cp\u003eAdvertisement published in Guardian Weekend, August 28 1993\u003c/p\u003e\r\n","description":"\u003cp\u003eThe 1994 K Foundation award was an award given by the K Foundation (Bill Drummond and Jimmy Cauty) to the \u0026quot;worst artist of the year\u0026quot;. The shortlist for the \u0026pound;40,000 K Foundation award was identical to the shortlist for the well-established but controversial \u0026pound;20,000 Turner Prize for the best British contemporary artist. On the evening of 23 November 1993, Rachel Whiteread was presented with the 1993 Turner Prize inside London\u0026#39;s Tate Gallery, and the 1994 K Foundation award on the street outside.\u003c/p\u003e\r\n\r\n\u003cp\u003ePrior to presenting their award, the K Foundation held a private exhibit of a collection of art works entitled Money - A Major Body of Cash. The award, the exhibition and the accompanying extravagant press junket were widely reported by the media.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn June 1993 the newly formed K Foundation began taking out full page national press adverts. Initial advertisements were cryptic, referring to \u0026quot;K Time\u0026quot; and advising readers to \u0026quot;Kick out the clocks\u0026quot;. They mentioned five-year journeys which included pop success and deep space travel and that \u0026quot;the sands of time are running in\u0026quot;. There was also an advert for the K Foundation\u0026#39;s single \u003ca href=\"http://ensembles.org/items/k-cera-cera-war-is-over-if-you-want-it?locale=nl\"\u003e\u0026quot;K Cera Cera\u0026quot;\u003c/a\u003e which was \u0026quot;Available nowhere ... no formats\u0026quot; and which was not planned for release until world peace was established.\u003c/p\u003e\r\n\r\n\u003cp\u003eThere was a change of direction with \u003ca href=\"http://ensembles.org/items/abandon-all-art-now?locale=nl\"\u003ethe fourth advert\u003c/a\u003e which appeared on 14 August 1993, reading: \u0026quot;ABANDON ALL ART NOW. Major rethink in progress. Await further announcements.\u0026quot; The next ad (28 August 1993) read: \u0026quot;It has come to our attention that you did not abandon all art now. Further direct action is thus necessary. The K Foundation announce the \u003cem\u003e\u0026#39;mutha of all awards\u0026#39;\u003c/em\u003e, the 1994 K Foundation award for the worst artist of the year.\u0026quot; It then went on to detail how a shortlist of four artists had been chosen, and that they would be exhibited in the Tate Gallery.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;\u003cem\u003eMost of the people who wrote about what we did, and the TV programme that was made about it, made a mistake. I was only able to articulate it to myself afterwards with hindsight. They thought we were using our money to make a statement about art, and really what we were doing was using our art to make a statement about money. Having arrived at that formula, I\u0026#39;m probably manipulating everything we did to fit into the theory, but we were just getting up in the morning and getting on the phone with each other and saying, fucking hell! So at some points we thought we were attacking the art establishment then we were saying, no that\u0026#39;s not what this is about.\u003c/em\u003e\u0026rdquo; \u0026ndash; Bill Drummond (Watson, B., \u0026quot;King Boy D\u0026quot;, The Wire, March 1997)\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eDe 1994 K Foundation Award was een award die door de K Foundation (Bill Drummond en Jimmy Cauty) uitgereikt werd aan de \u0026quot;slechtste kunstenaar van het jaar\u0026quot;. De shortlist voor de K Foundation award van \u0026pound;40,000 was identiek dezelfde als die voor de gerenommeerde maar controversi\u0026euml;le Turner Prize van \u0026pound;20,000 voor de beste hedendaagse Britse kunstenaar. Op de avond van 23 november 1993 mocht Rachel Whiteread de Turner Prize 1993 in ontvangst nemen in de Londense Tate Gallery en de K Foundation Award 1994 buiten op straat.\u003c/p\u003e\r\n\r\n\u003cp\u003eVoor de uitreiking van hun Award organiseerde de K Foundation een priv\u0026eacute;tentoonstelling met een collectie kunstwerken getiteld Money \u0026ndash; A Major Body of Cash. De award, de tentoonstelling en de bijhorende extravagante persfeestjes werden uitgebreid verslagen in de media.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn juni 1993 begon de net opgerichte K Foundation met het publiceren van advertenties op volledige pagina\u0026rsquo;s in de nationale pers. De eerste advertenties waren cryptisch, ze hadden het over \u0026ldquo;K Time\u0026rdquo; en ze adviseerden de lezers om \u0026quot;Kick out the clocks\u0026quot;. Het ging over reizen van vijf jaar met inbegrip van popsucces, reizen naar de diepe ruimte en over \u0026quot;the sands of time are running in\u0026quot;. Er was ook een advertentie voor de single van de K Foundation \u0026ldquo;K Cera Cera\u0026rdquo; die \u0026ldquo;Nergens verkrijgbaar was \u0026hellip; in geen enkel formaat\u0026rdquo; en die pas uitgebracht zou worden als er wereldvrede was.\u003c/p\u003e\r\n\r\n\u003cp\u003eMet de vierde advertentie van 14 augustus 1993 werd een andere richting ingeslagen. Deze advertentie zei: \u0026quot;ABANDON ALL ART NOW. Major rethink in progress. Await further announcements.\u0026quot; De daaropvolgende advertentie (28 augustus 1993) zei: \u0026quot;It has come to our attention that you did not abandon all art now. Further direct action is thus necessary. The K Foundation announce the \u0026#39;mutha of all awards\u0026#39;, the 1994 K Foundation award for the worst artist of the year.\u0026quot; Daarna ging het in detail over hoe een shortlist van vier kunstenaars geselecteerd werd en dat ze tentoongesteld zouden worden in de Tate Gallery.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;De meeste mensen die schreven over wat wij deden en het televisieprogramma dat erover gemaakt werd, maakten een fout. Ik kon daar voor mezelf pas naderhand de vinger op leggen. Ze dachten dat wij ons geld gebruikten om een statement te maken over kunst, maar eigenlijk gebruikten we net onze kunst om een statement te maken over geld. Nu ik tot die conclusie ben gekomen, manipuleer ik waarschijnlijk alles wat we deden zodanig dat het aansluit bij deze theorie. Eigenlijk stonden we gewoon elke ochtend op, belden we naar elkaar en zeiden we \u0026ldquo;fucking hell!\u0026rdquo;. Dus in bepaalde opzichten dachten we dat we de gevestigde waarden binnen de wereld van de kunst aanvielen, maar op andere momenten zeiden we dan weer \u0026lsquo;nee, dat is niet waar het om gaat\u0026rsquo;.\u0026rdquo; \u003c/em\u003e\u0026ndash; Bill Drummond (Watson, B., \u0026quot;King Boy D\u0026quot;, The Wire, March 1997)\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eLe prix de la Fondation K 1994 \u0026eacute;tait une r\u0026eacute;compense d\u0026eacute;cern\u0026eacute;e par la Fondation K (Bill Drummond et Jimmy Cauty) au \u0026laquo;\u0026nbsp;pire artiste de l\u0026rsquo;ann\u0026eacute;e\u0026nbsp;\u0026raquo;. La liste des nomm\u0026eacute;s pour le prix de la Fondation K (40\u0026nbsp;000\u0026nbsp;\u0026pound;) \u0026eacute;tait la m\u0026ecirc;me que celle pour le c\u0026eacute;l\u0026egrave;bre mais pol\u0026eacute;mique prix Turner (20\u0026nbsp;000\u0026nbsp;\u0026pound;) pour le meilleur artiste contemporain britannique. Au cours de la soir\u0026eacute;e du 23 novembre 1993, Rachel Whiteread a re\u0026ccedil;u le prix Turner 1993 \u0026agrave; l\u0026rsquo;int\u0026eacute;rieur de la Tate Gallery \u0026agrave; Londres et le prix de la Fondation K 1994, \u0026agrave; l\u0026rsquo;ext\u0026eacute;rieur, dans la rue.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvant de pr\u0026eacute;senter sa r\u0026eacute;compense, la Fondation K a organis\u0026eacute; une exposition priv\u0026eacute;e d\u0026rsquo;un ensemble d\u0026rsquo;\u0026oelig;uvres d\u0026rsquo;art, intitul\u0026eacute; \u0026laquo;\u0026nbsp;Money - A Major Body of Cash\u0026nbsp;\u0026raquo; (\u0026laquo;\u0026nbsp;L\u0026rsquo;argent, un corps majeur d\u0026rsquo;esp\u0026egrave;ces\u0026nbsp;\u0026raquo;). Le prix, l\u0026rsquo;exposition et l\u0026rsquo;extravagance m\u0026eacute;diatique aux frais de la princesse ont amplement \u0026eacute;t\u0026eacute; couverts par les m\u0026eacute;dias.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn juin 1993, la toute nouvelle Fondation K s\u0026rsquo;est empar\u0026eacute;e de publicit\u0026eacute;s nationales de pleine page dans la presse. Initialement, les publicit\u0026eacute;s \u0026eacute;taient cryptiques, faisant allusion \u0026agrave; \u0026laquo;\u0026nbsp;l\u0026rsquo;heure K\u0026nbsp;\u0026raquo; et recommandant aux lecteurs de \u0026laquo;\u0026nbsp;jeter les montres\u0026nbsp;\u0026raquo;. Elles mentionnaient des voyages de cinq ans comprenant le succ\u0026egrave;s populaire et des voyages au fin fond de l\u0026rsquo;espace et que \u0026laquo;\u0026nbsp;les sables du temps allaient d\u0026eacute;ferler\u0026nbsp;\u0026raquo;. Il y avait \u0026eacute;galement une publicit\u0026eacute; pour le single de la Fondation K, \u003cem\u003eK Cera Cera\u003c/em\u003e, qui n\u0026rsquo;\u0026eacute;tait \u0026laquo;\u0026nbsp;disponible nulle part et sous aucun format\u0026nbsp;\u0026raquo; et dont la sortie n\u0026rsquo;\u0026eacute;tait pr\u0026eacute;vue qu\u0026rsquo;une fois que le monde entier conna\u0026icirc;trait enfin la paix.\u003c/p\u003e\r\n\r\n\u003cp\u003eUn changement de direction s\u0026rsquo;est op\u0026eacute;r\u0026eacute; avec la quatri\u0026egrave;me publicit\u0026eacute;, le 14 ao\u0026ucirc;t 1993, qui d\u0026eacute;clarait\u0026nbsp;: \u0026laquo;\u0026nbsp;ABANDONNEZ DE SUITE TOUTE FORME D\u0026rsquo;ART. Nouvelle pens\u0026eacute;e majeure en cours. Attendez les annonces ult\u0026eacute;rieures\u0026nbsp;\u0026raquo;. La publicit\u0026eacute; suivante (le 28 ao\u0026ucirc;t 1993) indiquait\u0026nbsp;: \u0026laquo;\u0026nbsp;Notre attention a \u0026eacute;t\u0026eacute; attir\u0026eacute;e sur le fait que vous n\u0026rsquo;avez pas de suite abandonn\u0026eacute; toute forme d\u0026rsquo;art. Par cons\u0026eacute;quent, une action directe suppl\u0026eacute;mentaire s\u0026rsquo;av\u0026egrave;re n\u0026eacute;cessaire. La Fondation K annonce la \u0026laquo;\u0026nbsp;m\u0026egrave;re de toutes les r\u0026eacute;compenses\u0026nbsp;\u0026raquo;, le prix 1994 de la Fondation K pour le pire artiste de l\u0026rsquo;ann\u0026eacute;e\u0026nbsp;\u0026raquo;. Elle dresse ensuite une liste de quatre artistes choisis, lesquels seront expos\u0026eacute;s \u0026agrave; la Tate Gallery.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026laquo;\u0026nbsp;\u003cem\u003eLa plupart des gens ayant \u0026eacute;crit au sujet de notre action et le programme t\u0026eacute;l\u0026eacute;vis\u0026eacute; r\u0026eacute;alis\u0026eacute; \u0026agrave; ce sujet a commis une erreur. J\u0026rsquo;ai seulement pu me le formuler \u0026agrave; moi-m\u0026ecirc;me par la suite, avec le recul. Ces gens ont pens\u0026eacute; que nous utilisions notre argent pour affirmer quelque chose en termes d\u0026rsquo;art et que nous ne faisions qu\u0026rsquo;utiliser notre art pour affirmer quelque chose en termes d\u0026rsquo;argent. Avec cette formule, je manipule probablement tout ce que nous avons fait pour coller \u0026agrave; la th\u0026eacute;orie mais nous ne faisions rien de plus que de nous lever le matin, de nous t\u0026eacute;l\u0026eacute;phoner pour nous dire \u0026laquo;\u0026nbsp;putain\u0026nbsp;!\u0026nbsp;\u0026raquo;. \u0026Agrave; certains moments, nous pensions attaquer l\u0026rsquo;art institutionnel mais nous avons r\u0026eacute;alis\u0026eacute; que non, il ne s\u0026rsquo;agissait pas de cela\u003c/em\u003e.\u0026nbsp;\u0026raquo; \u0026ndash; Bill Drummond (Watson, B., \u0026quot;King Boy D\u0026quot;, The Wire, mars 1997)\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}