![]() ![]() It was very prominently displayed and I was struck by it but I totally agreed to that. The annual report of Saatchi and Saatchi few years later had a quote of Leyland. ![]() One slot in the painting was mentioned I believe. On the floor it is a paper that speaks about artworks owned de by the Saatchi firm which was not officially an art-collecting firm. The volumes that you see on the bookshelf in the back have the title of accounts that the Saatchi and Saatchi agency was handling, in London and in South Africa like British airways, few other governments, and also museums in London. It is in the collection of the Tate gallery. So I came up with this statue of Pandora by Harry Bates. HH No, I did a few figurative paintings in my adult years and it was important for me that I did them myself. JB Was it a question to employ someone to make the painting for you? Or did you want to do it yourself? I did the figurative representation as well as I could and on the basis of a photograph I produced a single portrait of Margaret Thatcher. So I thought I have to adopt that medium and I was not very skilled. Painting was not the new thing in art world for a long time, it was not popular and all of a sudden painting came back and in effect, Charles Saatchi was promoting some of that. I tried to combine the two and get an image of the Tate gallery into a painting. They also ran the election of Margaret Thatcher. They also came up in fact was the slogan ‘Labour isn’t working’. I don’t know what we can grant to them but they were the ones who did it. At the time, Charles and his brother Maurice were heads of a major advertising publishing firm, which also was involved in South Africa and supported the fortunes of the South African regime. It was a solo exhibition at the Tate during the time of Margaret Thatcher’s glory and also something that to an extent still exists today, which was the role that Charles Saatchi played in the art world. HH Yes, it was a bit controversial but it did go on exhibition. JB About the work Taking Stock (Unfinished) exhibited in 1984 at the Tate gallery, again I think there is a kind of backstory to this in terms of the director of the Tate and whether the work is going to actually go head or not. HH The condensation responses to his context so this is sociological meteorology. JB In that respect, the ways in which, even from early on, your realisation of the context of the institution is something that has been consistent through everything you have done. HH In effect, looking back, it has became the pattern to respond to the context Or you always respond to an invitation and then the process of research begins? JB Has it ever not been? I am wondering if you didn’t have a project in mind or an exhibition coming up like the plinth proposal or something that you are submitted, would it still be a studio practice. JB So your work is always in that respect site specific when you are invited to do a project? This one is the central one juxtaposing the use of the land rover with a jaguar. And this is not an invention of mine and I went with it and made a several panels. It happened that the slogan, which British Leyland offered jaguars and other proper vehicles to the British public, was a breed apart. I learned that British Leyland supplied the military vehicles to the South African racist army. The two of course fall apart in terms of use and ownership. I learned that British Leyland not only produced military vehicles but also the Jaguar. First, I learned about the fact that around Oxford, British Leyland had a major production facility and. HH In the late seventies, in 1978, I was invented to do a solo show in Oxford at the museum and that was a time when Apartheid became something that was very prominent in the news and of course racial discrimination was a basic attendant of society and politics. So this work, which is a Breed Apart, Can we talk through this one? ![]() JB In terms of natural systems, there is also business involvement with oppressive regimes what kind or another and particularly with the relationships to South Africa during the period of Apartheid. Artlyst even got to ask a few questions at the end of the conversation. His latest work unveiled on the Fourth Plinth in London’s Trafalgar Square titled, ‘Gift Horse’ is no exception to the artist’s reputation to challenge our perceptions of public art. In the second and final part of our featured discussion between Hans Haacke and Jon Bird at the ICA, we conclude that Mr Haacke’s work crosses boundaries of Conceptual, Minimal, Pop and site specific Land Art. ![]()
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