| One line synopsis | Two short films showing contemporary British artists creating works relating to the lives of their recipients: conceptual artists, Jake (b.1966) and Dinos (b.1962) Chapman, make a life-sized manikin for punk musician, Justine Frischmann (b.1969), and Sam Taylor-Wood (b.1967) photographs Alastair Morrison, an airline steward. |
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| Description | The Chapmans’ Tragic Anatomies (1996), Great Deeds Against the Dead (1994).
Caption: "The artists." The Chapmans travelling in a taxi, talking about their favourite food, television programme, band. Post Punk band Elastica, with lead singer and guitarist, Justine Frischmann. Frischmann talking. The Chapmans in a wig shop, and in their studio, wearing wigs, talking about what they might do for Frischmann. Frischmann talking about what she knows of the Chapmans’ work. Caption: "The date." The Chapmans arrive at Frischmann’s house. The finished work is to go in her bedroom. Caption: "How was it for you?" The Chapmans in their studio talking about Frischmann. Frischmann talking about them. They describe the work they plan, a wooden panel with bleeding skulls embedded in it. Caption: A trip to Chapmanworld. Frischmann visits the studio. She doesn’t like their idea. They discuss the manikins they use in their work and how people react to them. She says she’d like them to make one for her. Caption: "Making it." The Chapmans start to assemble a figure. Frischmann working at home, her VO describes the sort of art she prefers. The Chapmans begin painting the new figure. They carry out a wrapped-up bundle. Caption: "Delivery day." The Chapmans take the completed manikin to Frischmann’s house. They install it in her bedroom and tell her it’s called Cockroach Kid. Caption: "Happy?" The Chapmans in a café. Frischmann in her room; says she likes the figure. She has already added a fur hat to it, and thinks she may dress it up from time to time.
The third part of Taylor-Wood’s ongoing panoramic photographic series, Five Revolutionary Seconds. Taylor-Wood, with her daughter in a push-chair, points out that she needs a lot of space in which to work. Alastair Morrison, chief steward for a major airline, at his newly completed South London loft. Taylor-Wood (and daughter) taking a taxi. She telephones friends she’d like to be in the new photograph. Taylor-Wood meets Morrison and looks round his apartment. Taylor-Wood setting up her photographic equipment. She talks about the contents of her 360° photographs and how the different parts of the image relate to each other. As they arrive, she talks about involving her friends in her work, and the sort of activities they will apparently be engaged in in the finished piece. Taylor-Wood and Morrison discussing his role in the photograph. He puts on his uniform. Taylor-Wood poses her participants, including a friend wearing fetish clothing. Taylor-Wood takes several photographs.Taylor-Wood looking at the finished photographs and describing her reaction to them. The selected image, framed and hung. Morrison looking at the photograph. Credits. |
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| Full credits | Commentary Tim Marlow;
Title Music Aphex Twin.
With thanks to Stirling Ackroyd,
White Cube.
Photography Colin Case,
Spike Geilinger;
Sound John Pritchard,
Tim Humphries,
Paul Parsons,
Stuart Pickering;
Dubbing Mixers Mike Sheppard,
Russell Bradley;
On-Line Editor Phil Southby;
Unit Manager Erica Banks;
Production Assistants Emma Shakespeare,
Linda Dalling;
Graphic Design Christine Büttner;
Film Editors Paul Binns,
Stephen Parkinson;
Research Emily Kennedy;
Executive Producer Arts Council of England Rodney Wilson;
Director (Jake & Dinos Chapman) Janet Lee;
Director (Sam Taylor-Wood) Flavia Rittner;
Series Editor Keith Alexander.
A BBC/Arts Council of England Co-Production.
© BBC MCMXCVII. |
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