"The audio-visual art piece 'HATEFUCK' is the next piece of Pussy Riot's ongoing 2022 cycle Patriarchy R.I.P. that revolves around a super(s)hero character who owns magic superwoman-like qualities & uses these powers to destroy the patriarchy. 'HATEFUCK' follows another piece from this cycle, 'PUNISH' released earlier this year. 'HATEFUCK' runs in tandem with Pussy Riot-curated exhibit Patriarchy R.I.P. that runs on billboards all across the US, mostly in red states. 'HATEFUCK' heroines, vengeful dominatrixes and goddesses, they serve justice by creating a hell on earth for sexual abusers, for privileged exploiters of marginalized, alienated and objectified groups. Created under the influence of Hieronymus Bosch's visions of hell".
(sequência daqui) Mas, pelo meio, podemos observar como, diversas vezes, Florence consulta o placard coberto de folhas com fragmentos de textos, fonte de alimentação das canções em processo de gravação. Algures por ali – sob os espectros de Sterne, Burroughs, Gysin e Laurie Anderson –, John Parish, no posto de (discreto) comando, esforça-se por arrumar tudo ao jeito de um diário dadaísta, acondionado por um "brainstorming" instrumental em comunicação mental com os Wire, Pavement, Johnny Marr e Robert Fripp. Na capa do sucessor de New Long Leg, um sabonete no qual o título do álbum se desenha numa elegantíssima filigrana de pelos púbicos. Um manifesto? “For a happy and exciting life, locally, nationwide or worldwide, stay interested in the world around you”.
No passado dia 10 de Outubro, os Dry Cleaning, para dar a ouvir o segundo álbum, Stumpwork, escolheram o rinque de patinagem no gelo do Rockfeller Center, em Nova Iorque.. No video para a canção de abertura, "Anna Calls From The Arctic", sobre o infinito "loop" visual de um patinador, Florence Shaw, em conversa consigo mesma, interroga-se confusamente (“Should I propose friendship? Flies going crazy, wriggling and flipping, Emporio Armani builder, I see shit everywhere”), divaga (“I like it when you can see inside houses from a car, it's cozy”) e resmunga (“Nothing works, everything's expensive and opaque and privatised, my shoe organising thing arrived, thank God”). Noutro video, o de "No Decent Shoes for Rain", montagem aleatória de imagens, os quatro Dry Cleaning (e um cão) espelham o mesmo plano de deliberada (des)organização do texto – “New Zealand, France, Switzerland, Northampton, Exeter, Egypt, it won't do to cry about it, I've seen a rat, I've seen a guy cautioned by police for rollerblading, let's smoke and drink and get fucked, I don't know, let's eat pancake” –, enquanto a música se dilata em crescendo, interrompe-se, e, após nova escalada, por fim, desmorona-se. (daqui; segue para aqui)
"It was very important for us to create the image of not just a beautiful, but also a strong-willed girl who personifies the whole of Ukraine – unbending, courageous, free. Despite all the difficulties and challenges, we coped with creating the image on time, because each of us is a Warrior in his business”. (via DT)