First As Tragedy, Then As Farce

 

the culture

Simon Tyszko

Dedicated to Louis Benassi  An internationalist, a comrade and a friend. 31st December 2020 1st January 2021

the culture

Simon tyszko

Dec 31st 2020 Live stream event

Please join us here on this page promptly at 20:10 GMT for

First As Tragedy, Then As Farce.

Two live-streamed films that tell it like it is...

The Great Escape (reversed, recontextualised, retold).

It is important NOT to be late for an escape attempt.

 

And then at 22:59:55 GMT for

Empire, the inevitable re-imagining of the 1966 World Cup, which will end (start) just five seconds before we finally leave the European Union.

 

A lot can happen in a few seconds.

Tune in to find out, before we go out.

Please join us here on this page promptly for 20:10 GMT

and please share www.theculture.net/farce.html with your friends

 

EMPIRE

a text by Gareth Evans: Whitechapel Gallery Adjunct Moving Image Curator.

As the 'United' Kingdom (specifically England) slips further into the sea, into both the rising salty brine of its founding climate alterations and the mire of its own increasing irrelevance and ineptitude, Simon Tyszko's Empire reveals itself as perhaps the definitive explanatory - and surprisingly redemptive - text, hiding in plain sight, we could hope for at such a time.

 

Yes, it rewinds, using FIFA's own footage, the 1966 World Cup Final, locus of England's only win at such a level, one achieved on home ground, against a visiting team unmatched in terms of symbolic resonance.

 

Yes, it captures moments of epiphanic melancholy, as balls retreat from the goal nets, from their dream, their very reason, returning to the foot like errant children home; as the Queen takes back the Jules Rimet Trophy from captain Bobby Moore, wiping the smile from his face and returning his features to the numbed neutrality of joylessness.

 

Yes, for these and similar moments alone, Tyszko has crafted something singular, something seen, out of material so overseen it is almost invisible.

 

But why call it Empire? Because in his strategy of reversal, Tyszko is teasing at something far larger, far more important than the witty unravelling of a sporting win. Indeed, why stop at that rewinding? Why not continue back - all the way back - to the world before England's global footprint had been impressed on the face of the beaten planet.

Empire is a song to its own absence, its erasure, a praise song back in time and place for a country that accepted its size, that did not make claims, that did not enslave, extract, despoil and desecrate; for a country that could be ambitious but which remained humble: a country, in short, that did not exist.

 

Think then of Empire as Tyszko's radical remake of Sliding Doors, where the focus is not on the future/s that might be, but on the past that never should have been. Onwards! Or rather, Backwards!

 

Gareth Evans 2019