Cartrain: The interview, sort of (2010)
Artists can of course say "Yes" or "No" to a Q&A, but the arts can show ways to work around such minor technicalities.
Cartrain: The interview, sort of
Art Design Publicity was thoroughly keen to interview the teenage Prince Cartrain to learn more about his work dealing with copyright, property law, and public space interventions (we mean ’graffiti art’), but unfortunately the artist and his representation 100artworks.com, have gone silent after our enthusiastic email request.
Maybe it was our interpretation that actually the teenage artist was a next-generation publicity artist—the art child of Tracey Emin and Damien Hirst. Maybe it was that we were aesthetically convinced that the media artwork was steered by White Cube PR, behind the scenes, as part of a multi-angled publicity strategy. Or maybe it was our offer of the cover and our proclamation that the young artist was the new Prince of British Art.
However as Art Design Publicity readers have grown to expect, there’s always a way around the current media/comm system when approached creatively like some art practices. Therefore, we offer our interpretation of what we think, or rather hope, Prince Cartrain would say to our readers. We also have appropriated images of the artist’s work—a tribute showing the influence of the young appropriation artist himself.
The following are excerpts of the conversation.
Yukiko Fujita: Hey. You alright?
Kim Min Su adopting the role of Cartrain: Yeah. Hiya. You alright? What do ya wanna know?
YUKIKO: Our academic research in terms of developments in Art in the Age of Mass Media places your work and process as really the next sort of wave of publicity-generating art and artist brand-building.
KIM AS CARTRAIN: Well thank you. I have copies of John A. Walker’s book here—and also the classic Art and Celebrity. After I learned that a recent Turner Prize finalist was tutored by Mr Walker, naturally I had to read the books again very closely.
I also wore a disguise to get in to see the Pop Life show at Tate Modern. As you may know I’ve been banned from the place as part of an agreement. While it does look like a show of art politics, artist marketing and team-building, through that surface, you could kinda see what the curatorial team intended at least.
YUKIKO: We’ve read the publicity about the skull copyright controversy and you stealing, I mean ‘borrowing’, Damien’s pencils from Tate Britain.
Really great sensational copy.
KIM AS CARTRAIN: Uh thanks.
YUKIKO: My question is: when did you start working with White Cube?
KIM AS CARTRAIN: I’ve never said that.
Can I ask you something off the record?
Cartrain. Title and year unspecified. Almost everything else by Cartrain appears sold out. Now part of the Art Design Publicity Art Collection. Go Cartrain—and Lib Dems!
YUKIKO: Sure. We’re an art mag. Go ahead...
>> OFF THE RECORD <<
KIM AS CARTRAIN: What did you hear?
YUKIKO: Well we just know things. What do you want to say?
KIM AS CARTRAIN: Awright, this is off the record.
xxxxxxxxxxxxxxxxxxxxxxxxx, and xxxxxx xx xxx xxxxxxxx xxx xx xx xx xxx xxx xxxxxxxx xxxxx. However, xx xxx xxxxxxxx xx xx xxxx xxxx xx xxxxxxxxxxxxx xxx x xxxx xx xxx xxxxx xxxxx xxx xxxxx xxxxxxxx xxxx. It should be noted that, as I am well-versed in various literary theories and even art historiography xxxxx xx x xxxxxxx xxx x xx xxxx xx xxxx xxx xxxxxx xxxx xxxx xxx xxx xxxxx!
You might think xxxx xx xx xxxxxxx xxx xxxxxxx xxx.
xxx xxxx xx xxxx xxxx Artforum, editor Tim Griffin xx x xxxx xx xxxxxxx xxx xxxxx xx xxx xxxx xxxx xxxxx xxx xxxxxxxxxxx xx xxxxxxxxx xx xxx xxxxxx, and Jonathan Jones xxxxxx xxxx xx xx xxx xxxxx xxxxxxxxx xxx xxxxxxxxxxx xxx xxx xxxxx xxxxx.
Now about the pencils appropriation, XXX X XXX XXXXXXX XX XXXX XXX XXXXX XXX XXXXX XXX XXX XXXXX XXX XX XXX XXXXX XXXXX XXXXXXX XX XXXXXX. After the meeting, the media relations strategy shifted XXXXXXXX XXX XXXX XX XX XXX XXX XXX XXXXX XXXXXX XX XXXX XX XXXX XXX XXXX XX XX XXXXXXXXX XXXXX XXX XXX XX XXXX XXXXXXX XXX XXXXXXX XXXXX XXXX XXXXX XXX X XXXXXX XXXXX XXXX XXXXX XXXXXXX XXXXXXXXXX.
You can’t tell anyone.
YUKIKO: Don’t worry. No one will know.
So what can we look forward to in the development of your practice focusing on graffiti art, collage, media interventions, legal publicity and literary theory?
KIM AS CARTRAIN: Again, this is off the record, but I’m secretly preparing a solo exhibition at [you get two letters] _ _ _ _ _ / _ _ _ E. This will be paralleled by inclusion in two group shows at _ A _ _ / _ _ _ _ _ _ and the
_ E _ _ E _ _ _ _ E / _ A _ _ _ _ _. Two top curators will be marketing, correction: reconsidering my work. There will be three staged controversies, but the most it will achieve is "Tracey’s tent LITE" at this point.
In the end, it will show that theft and publicity, I mean ’appropriation’ and ’artistic development’ is the Art of today’s generation.
Something that Mr Hirst contributed greatly with Hymn, but I have obviously taken to another level.
YUKIKO: Sounds like a recipe for a Turner Prize shortlisting. And the work will be priced accordingly?
Check out Cartrain’s media coverage interventionsRegarding the abbreviated list of publicity outputs below, media relations evaluation procedures can quantify the publicity value to the Cartrain brand in pounds, euros and dollars. When viewed creatively and in an entertainment sector brand-building context—plus factoring in experience, age, team-size, and budget—do these publicity outputs compete with diamond skull ‘sale’ publicity—and that of major international corporations? Click the screenshot below.
Note, 02 July 2011: The webpage above appears to be taken offline as of this date.
Dear Prince Cartrain: We’d be really keen to interview you when you are ready to challenge our media art interpretation. Until then, we wish you great success!