Murder as a Fine Art

The Ritualised Death of the International Mural Artist

Having found ourselves assaulted by a wretched 'art', namely the appearance on the St. George's Estate, Shadwell, East London of a mural 200 metres in length, dramatic recourse has been planned for not only for this but other nation-wide incidences of state sanctioned violence.

The first of a series of televised events at St. George's Estate, Shadwell, East London commences on the mid-summer's solstice evening and will include opportunities for spontaneous resident participation. Under a blood-red Waterloo Sunset the proceedings will unfold thus:

The artist / commissioner / curator / project manager will be bathed, anointed with oils, dressed in a fine suite of clothes and served by the residents of the estate with a meal exquisitely prepared and lasting 12 hours.

After a night sleeping in the Aztec Temple erected on the Estate Green and guarded by resident 'wardens', the sacrifice will rise and spend the day being presented by the Executioner to the crowd consisting of residents, other artists / commissioners and members of the braying public invited to compete in their cursing of the pilloried subject. Come early evening he / she will be tortured with a degree of prejudice understood, after consultation with residents, to be in accordance with his / her crime (a.k.a mural, intervention, workshop) and subject to the sacrificial lamb's consent. The method of execution will be dependent on the wishes of the public and the sacrifice. The method can
range from hanging, garrotting, being smote with a mutton bone… the list is endless but dependent on resident consultation.

The cadaver will then be staked through the heart and placed upon a truck fitted with a revolving stage and frame that will present the gouting corpse at a 45 degree angle to the mob as the float circumnavigates the estate.

The procession will commence on The Highway, passing News International's
Headquarters, go north up Cannon Street Road and then west along Cable Street before repeating this circuit to return to the civil-engineered abyss at the corner of Cable Street and Cannon Street Road.

At the specially crafted shaft designed to receive a limitless number of sacrifices, and beneath the 'Garland of Joy' suspended between the buildings, the cadaver will be hurled into this sucking chasm prompting a chorus of ecstatic cries from the attending crowd and echoed by the bellow of audiences viewing the events on television at home. It is envisaged that the demand will be so great for this facility that barely a day will goby without the abyss being gorged with the flesh of those seeking atonement. This excavated gullet is designed to feed the foundations of the estate providing in turn a life force that will require replenishing at an exponential rate. The thirst of this Brutalist designed set of buildings will be like that of a jet engine sucking air and fuel into its lungs
setting alight the souls of its residents; transforming them into raging incandescent flames of being.

Subsequent architectural modifications to the buildings on the estate will accommodate aerial viewing platforms and towers for burning pyres that will announce the advent and duration of each new carnival. The pilot event will take place on mid-summer's night but the envisaged demand and throughput will take on quasi industrial proportions demanding that this become an all-weather event and facility.

St. George's will become a national fairground of joy where cultural workers and culturalrecidivists of all kinds will have the opportunity to feed the public, allowing their bodies to become the site(s) and feast for a 'coming together', a letting of blood and cleansing of their previous pernicious cultural muggings.