London’s 90s art scene forms the backdrop to this tale of a complex relationship between two artists whose identities become entangled in their creative collaboration
For all the wrong reasons, Damien Hirst’s Shark (The Physical Impossibility of Death in the Mind of Someone Living) has a claim to being the most prescient British artwork of the last half-century: a grim parable of neoliberalism. In 1991, it was still possible to mistake the predatory violence of that system for a kind of animal vitality. But today, open-mouthed, dead-eyed and decayed, it speaks only of a regime preserved far beyond its natural lifespan, lauded exclusively by institutions that can profit from its ugliness.
Alex Hyde’s second novel, an elegant Künstlerroman which plays out during a lightly fictionalised version of the YBA explosion, explores the resonance of that particular cultural inflection point: a moment when the collapse of the postwar cultural settlement, municipal culture and public institutions was transfigured decisively and ubiquitously into individualised, confessional artistic capital.
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London’s 90s art scene forms the backdrop to this tale of a complex relationship between two artists whose identities become entangled in their creative collaborationFor all the wrong reasons, Damien Hirst’s Shark (Th...
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