The only indication that this is an original work by the master of the visceral showstopper is a brief encounter with an anus defecating a kidney bean. As a commercial, the spot is slick and chicly provocative, but as an artist’s foray into filmmaking it is surprisingly derivative-Hirst seems to have taken too many tips from his new colleagues. The action winds up in what is by now recognizable as this artist’s natural habitat: the butcher’s shop. Hirst aficionadoes won’t be surprised by the 60-second film’s images, which include a cow’s flayed carcass, a fistful of maggots, and a couple of oozing eyeballs.
Made to the brief of “Let’s be weird ,” Hirst’s directorial debut flashes up a quick-fire cocktail of scenarios that blend David Lynch, Monty Python, and a dash of Luis Buñuel, all set to a Muzak-like soundtrack by Malcolm Mclaren (who makes a brief appearance). So far, however, Hirst’s road to full-scale commercial exposure has proven not without its hazards. The show goes out to 29 countries across Europe.
#Buck quickfire movie
The result is a 60-second spot promoting 100% Weird, a Friday-night “cult classic” movie slot on the cable channel TNT. Now Hirst has taken what many see as an inevitable next step for him, into the world of advertising: he has signed up with a leading commercials company, Tony Kaye Ltd., maker of award-winning ads for Dunlop, Nike, and the UK rail network Intercity.
He rose to fame, after all, as much for curating an exhibition (“Freeze,” 1988) as for being in it and besides his gallery shows his works have included a window display for a London Tower Records, public billboards throughout the UK, opera designs, and the artwork and promotional material for ex-Eurythmic Dave Stewart’s latest album, Greetings from the Gutter. ARTIST, IMPRESARIO, ARTFUL DODGER-Damien Hirst has never liked to confine himself to one mode of operation.
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