![]() Over a confusing array of releases, Hype Williams have built a unique language for themselves, pretty much dysfunctional when viewed through almost any pre-existing aesthetic lens you care to name, but savagely compelling on its own terms. Still, the duo’s antics – the smirking half-lies, the obscure stage capers – might be entertaining, but they’re by no means the most interesting thing about this so-called “art project”. ![]() They live them – and we wouldn’t have it any other way. Blunt and Copeland don’t shrug on these techniques like an outlandish piece of clothing. ![]() Regardless, the success of Hype Williams lends weight to a rapidly crystallising truism: that the cut’n’paste logic at work in “postmodern” art is now – thanks to the internet – just a fact of everyday existence. ![]() What does that say about us, their fans and admirers? Probably, to be honest, that we’re a good few years behind the times. Postmodernism as an aesthetic ideology may have fallen out of favour in the past decade or so, but the unstable, fragmentary, mocking-yet-deadly-serious schizo-aesthetic of Blunt and partner in crime Inga Copeland still seems to fascinate and surprise. “I went out with a rich white girl from Islington, and she told me it was ‘fine art’,” said Dean Blunt of his music in a recent interview.
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