![]() ![]() Over a confusing array of releases, Hype Williams have built a unique language for themselves, pretty much dysfunctional when viewed through almost any pre-existing aesthetic lens you care to name, but savagely compelling on its own terms. ![]() Still, the duo’s antics – the smirking half-lies, the obscure stage capers – might be entertaining, but they’re by no means the most interesting thing about this so-called “art project”. They live them – and we wouldn’t have it any other way. Blunt and Copeland don’t shrug on these techniques like an outlandish piece of clothing. Regardless, the success of Hype Williams lends weight to a rapidly crystallising truism: that the cut’n’paste logic at work in “postmodern” art is now – thanks to the internet – just a fact of everyday existence. What does that say about us, their fans and admirers? Probably, to be honest, that we’re a good few years behind the times. Postmodernism as an aesthetic ideology may have fallen out of favour in the past decade or so, but the unstable, fragmentary, mocking-yet-deadly-serious schizo-aesthetic of Blunt and partner in crime Inga Copeland still seems to fascinate and surprise. “I went out with a rich white girl from Islington, and she told me it was ‘fine art’,” said Dean Blunt of his music in a recent interview. ![]()
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