![]() There are QR codes dotted throughout that you can scan to bring up a map, and a gift store on your phone. It’s labyrinthine in a way that this abandoned… missile silo(?) would feasibly be. Hallways lead to larger exhibition spaces, which lead to more hallways, which lead to more exhibition spaces. The architecture, lighting, cabling, and pipes mark some of the practical necessities of this facility in the middle of nowhere. What’s interesting is that it’s a very grounded and believable space at first. Familiar Radiohead tracks and other bits of sound art fade in and out as you move through. Other pieces are carved into concrete, projected onto surfaces, and sometimes they’re large pieces on canvas, set very formally against stark walls like you would expect in an art gallery. Some of it is slapdash, pasted on ‘street style’. Bits and pieces of Donwoods’ and Yorke’s art adorn the walls of the hallways you move through. If I didn’t have an appreciation for Radiohead’s artistic details before, I certainly have a bit more now.īeginning in a stark, black and white forest that echoes the mountains found on the cover of Kid A, you’re enticed into an ominous industrial bunker that reveals itself to be absolutely enormous. That visual art and those motifs feature very heavily in the Kid A Mnesia Exhibition, with artist Stanley Donwood and Radiohead frontman Thom Yorke collaborating quite closely together – along with producer Nigel Godrich, video artist Sean Evans, set designer Christine Jones, and published by the team at Epic Games. ![]() ![]() What we have made is… it’s something like a mutant re-engineering of Kid A and Amnesiac.Frameborder="0" allow="accelerometer autoplay clipboard-write encrypted-media gyroscope picture-in-picture" allowfullscreen> This ain’t ever gonna happen’Īnd the other shoulder sat another saying ‘Oh yes. Unreal in every sense of the word, especially within the months of almost total human isolation.Ī small Minotaur sat on one shoulder saying ‘This is too mad. Working on something as strange as this over long Zoom calls with a large team of technicians all around the world has been one of the strangest experiences we have ever had. We worked with Sean Evans, a genius video/computer artist who directed it all with awe inspiring dedication and energy, theatre set designer Christine Jones and the game developers and Arbitrarily Good Productions.Īnd finally persuading Epic Games to help us put it out to the world.Įverything that we built came directly from what we made 20 years ago, in one way or another.Īnd we had all the multitrack recordings from the albums so we were able to rebuild the audio from the original elements in a new controlled space which wasn’t just stereo. With Nigel Godrich we have been working on this for about two years, through lockdowns, self-isolations and many very long intermittent Zoom calls. It would be way better if it didn’t actually exist.īecause then it didn’t have to conform to any normal rules of an exhibition. So we changed location – now it would look as if it had crashed into the side of the Royal Albert Hall.īut Westminster council didn’t like the idea one little bit.Īnd then Covid delivered the final annihilation. And then – being constructed from shipping containers – we could ship it around the world… New York, Tokyo, Paris…īut then we couldn’t fit it at the Victoria & Albert without parts of the museum building collapsing. ![]() This astounding steel carapace would be inserted into the urban fabric of London like an ice pick into Trotsky. It was going to be a huge red construction made by welding shipping containers together, constructed so that it looked as if a brutalist spacecraft had crash-landed into the classical architecture of the Victoria & Albert Museum in Kensington. To start with, when we first started thinking about it, we intended to build a physical exhibition/installation in a central London location. To mark a period of 21 years since the expulsion of Kid A and Amnesiac from a converted barn in the Oxfordshire countryside into an unsuspecting world we’ve built… something. ![]()
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