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Chris Newlove Horton
Chris Newlove Horton is a writer living in London.

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DATE NIGHT

Prize Entry

April 2016

Chris Newlove Horton

Prize Entry

April 2016

He said, ‘Tell me about yourself.’ He said, ‘Tell me about you.’ He said, ‘Tell me everything. I’m interested.’ He said, ‘I want to...

fiction

April 2015

Heavy

Chris Newlove Horton

fiction

April 2015

It is a two lane road somewhere in North America. The car is pulled onto the shoulder with the...

A huge swirl of whipped cream, garnished with a drone, a fly, and a maraschino cherry: so insistent that I avert my eyes on purpose, like how I won’t look at strangers revving the engines of bright convertibles Still, each time I circle the traffic-choked drain of Trafalgar Square on my bicycle, I can’t avoid it It squirts into my consciousness an airy sugar, a heady fume   Heather Phillipson’s The End (2020) is the Fourth Plinth’s latest topping; since 1998, the public art project has invited contemporary artists to respond to the square and its monuments The project has resulted in a number of meditations on imperialism, such as Yinka Shonibare’s Nelson’s Ship in a Bottle (2010) and Michael Rakowitz’s The Invisible Enemy Should Not Exist (2019), as well as middle fingers to the patriarchy, as with Katharina Fritsch’s giant blue Hahn/Cock (2011) Hans Haacke’s skeletal, riderless Gift Horse (2015), its front legs wrapped in stock market ticker-tape, embodied the vulture-pecked wealth of the city’s dead centre Invoking themes of surveillance and empty excess, Phillipson doesn’t break from this cynical tradition The piece was conceived and commissioned in 2016, the year that finally dug the grave of American exceptionalism with Donald Trump’s election, and of the European project with the Brexit referendum; the year that Phillipson says she ‘lost her sense of humour’ to despair Hence the titular fatalism of The End, in spite of its ludicrously pop encasement 2020’s cascading disasters, and the attendant strain placed on public consensus and societal cohesion, have only clarified Phillipson’s worst instincts, turning The End into a portent of a precarious era   Phillipson initially planned The End for Trafalgar Square’s everyday atmosphere of touristic fantasy and formalised dissent, intending instant pleasure with a top note of subversion But on March 16 — the eve of the first nationwide lockdown, coinciding with The End’s scheduled unveiling — the square’s protesters, buskers, tourists, and gaggles of teens evaporated as

Contributor

August 2014

Chris Newlove Horton

Contributor

August 2014

Chris Newlove Horton is a writer living in London.

James Richards: Not Blacking Out...

Art

December 2011

Chris Newlove Horton

Art

December 2011

Artist James Richards appropriates audio-visual material gathered from a range of sources, which he then edits into elaborate, fragmented collages.   But whereas his...

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Art

Issue No. 17

Water

Batia Suter

Art

Issue No. 17

Sources: Achate, Bilder im Stein / Josef Arnoth, Naturhistorisches Museum Basel Buchverlag, Bild der Wissenschaft 12, Dezember 1971, DVA StuttgartBasler Zeitung, Birkhäuser...

fiction

October 2012

Girl on a Bridge

Wayne Holloway

fiction

October 2012

Pirajoux… The middle of a hot endless summer, driving on the A39 through an as always empty central France,...

Art

June 2015

Sisterhood

Chelsea Hogue

Art

June 2015

A woman appears onscreen. Her hair is short. While the film is black and white, by the colour gradations...

 

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