The Turnip Prize II

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)

11 October

There has already been such an enormous amount of interest in the previous questions posed on these pages that I have agreed to post some further ones from readers and to see if I can find out some answers when I make it down to the show...

1. Is it true that everyone working on this part of the show wears a Ronnie Laing mask?

2. The prohibited actions didn't mention laughing - was that an oversight?

3. Is it general admission or allocated seating?

4. The prohibited actions didn't mention farting - was that an oversight?

5. Can other sorts of vegetable be taken into the screening, then?

6. I've heard that, too, about the masks, but aren't they from images from all different times in Laing's life?

7. If you watch the film twice, do you get Air Miles?

8. The prohibited actions didn't mention scratching (oneself, others or the seat) - was that an oversight?

9. I've heard that it's allocated seating, but the seat is allocated to you, depending on whether you screen for schizoid tendencies, schizophrenia, etc. Is that right?

10. Can people obtain verification, if it is needed, that, although they were at the Turner Prize show, they didn't attend a screening of All Divided Selves?

11. Can they still obtain such verification, even if they did actually attend one?

12. The prohibited actions didn't mention yawning - was that an oversight?

13. Does the death penalty still apply to anyone who mentions the word 'documentary' in connection with the film?



PS Hey! This sounds like an almost interesting approach to a film about a hisorical subject (taken from http://www.telegraph.co.uk/culture/art/art-features/5307532/Luke-Fowler-stories-upside-down-and-inside-out.html) :

Your eyes have barely focused on the tousled head of the composer Cornelius Cardew, when the image on the screen dissolves into footage of winter foliage that skitters in and out of focus. Newspaper cuttings concerning Cardew's early death (in a hit-and-run accident) are presented floating in space like elements in some miniature sculptural installation.

This is documentary film-making according to Luke Fowler, one of the hottest names in contemporary British art, winner of the inaugural Derek Jarman Award for artist film-makers, whose first major retrospective has opened at the Serpentine Gallery in London. In Fowler's best-known film, Pilgrimage between Scattered Points, which tells the story of English composer Cornelius Cardew, interviews are presented deliberately out of synch, subjects appear suddenly upside down, interspersed with apparently random imagery.


Apart from the random imagery, why has the canon of invention dwindled?


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