Punks, 1977, by Karen Knorr and Oliver Richon. © Karen Knorr and Olivier Richon. Courtesy of the artists

‘Tell me, how do I feel? Tell me now, how do I feel?’ sings Bernard Sumner in New Order’s unmistakable Blue Monday. First released in March 1983 through Factory Records, the pioneering synth-pop classic was a hit at clubs across the UK that summer and became the top-selling 12-inch record of all time.

告诉我，我感觉如何？现在告诉我，我感觉怎么样？“伯纳德·萨姆纳在“新秩序”的“明确的蓝色星期一”中演唱。1983年3月首次通过工厂唱片发行，开创性的Synth流行经典在那年夏天在英国各地的俱乐部中很受欢迎，并成为有史以来最畅销的12英寸唱片。

Sumner – reportedly under the influence of psychedelics when he wrote the lyrics – has always remained ambiguous about the song’s meaning. And Peter Saville’s iconic cover for the record pushed the songs obfuscated messages further, creating a blank cover that ripped asunder all graphic design rules: no title or band name appear on the blank floppy disk, with a colour code strip down the side, an incisive statement about the machine age. Later, Saville included a colour wheel on the back of New Order’s album, Power, Corruption - Lies, that allows listeners to decode the song’s title. (All this wasn’t cheap to produce – rumour has it the record was so expensive to make that Factory Records went into the red despite the single’s success).

萨姆纳-据说在他写歌词时受到迷幻精灵的影响-一直对这首歌的意义模棱两可。彼得·萨维尔(Peter Saville)为唱片制作的标志性封面进一步模糊了歌曲的信息，创造了一个空白封面，它被所有平面设计规则撕毁：空白软盘上没有出现任何标题或乐队名称，旁边有一条彩色代码条，这是一种关于机器时代的精辟表述。后来，萨维尔在“新秩序”专辑“权力，腐败”的背面加入了一个彩色轮子。

Blue Monday, 1983, by Peter Saville. © Peter Saville. Courtesy of the artist

1983年“蓝色星期一”，彼得·萨维尔著。彼得·萨维尔。艺术家的礼遇

Saville’s design was emblematic of British visual culture at the time: a suffusion of computer-perfect industrialism and leather-clad, beating-heart romanticism that started with artists like Richard Hamilton, The Sex Pistols and Joy Division and wound up with the YBAs. Saville’s work is presented as the hinge of the whole of this period of British culture and identity, surveyed in the group exhibition ‘New Order: Art, Product, Image 1976-1995’, selected by Michael Bracewell, at Sprüth Magers in London.

萨维尔的设计是当时英国视觉文化的象征：计算机完美无缺的工业主义和穿着皮衣的浪漫主义，从理查德·汉密尔顿(RichardHamilton)、“性手枪与欢乐分部”(TheSerialPistols-JoyDivies)等艺术家开始，最后进入了YBAs。萨维尔的作品是英国文化和身份这一时期的枢纽，由迈克尔·布雷斯韦尔(Michael Bracewell)在伦敦斯普鲁斯·马格斯(Sprüth Magers)举办的“新秩序：艺术、产品、图像(1976-1995年)”小组展览中进行了考察。

Moving from Karen Knorr and Olivier Richon’s portraits of West End punks in the mid-1970s (it’s hard to imagine west London as the home of punks now) concisely juxtaposed with Knorr’s later series of the wealthy elite in Belgravia, the exhibition traces changes in society through culture, capitalism and changing politics. Early-era YBA works (including video footage of a teenage Sarah Lucas, Gillian Wearing dancing in a shopping centre and an early medicine cabinet by Damien Hirst) are presented as the natural evolution of the DIY punk era and its abrasive confrontation with Thatcherism; post-modernism was born.

从凯伦·克诺尔(Karen Knorr)和奥利维尔·里森(Olivier Richon)在20世纪70年代中期描绘的伦敦西区朋克(现在很难想象西伦敦是朋克的故乡)开始，这个展览与克诺尔后来在贝尔格拉维亚(Belgravia)拍摄的富有精英系列作了简明扼要的并列。展览通过文化、资本主义和不断变化的政治来追溯社会的变化。早期的yba作品(包括一位十几岁的莎拉卢卡斯，吉莉安穿着在购物中心跳舞，以及达米恩赫斯特的早期药柜)呈现为DIY朋克时代的自然演变和它与撒切尔主义的粗暴对抗；后现代主义诞生了。

The work of this period can often feel a bit like the melodrama and pseudo-intellectualism of youthful endeavour, but there’s also a hint of regret about this exhibition. Britain finds itself struggling again to assume an identity, fractured and torn as it was then, but perhaps less rebellious and ready to create chaos. In answer to Sumner’s question, we’re really not sure how we feel now. §

这一时期的作品，往往会觉得有点像情节剧和伪知性的青春努力，但也有一丝遗憾的这一展览。英国发现自己再次挣扎于认同，分裂和撕裂，但也许不那么叛逆，并准备制造混乱。在回答萨姆纳的问题时，我们真的不知道我们现在的感受。§

“新秩序：艺术，产品，图像1976-1995”的安装视图，Sprüth Magers，伦敦。摄影：Voytek Ketz，伦敦安装视图“新秩序：艺术，产品，图像1976-1995”，Sprüth Magers，伦敦。摄影：Voytek Ketz，伦敦

RichardHamilton对“Lux50–I,1976年”的研究。©RichardHamiltonResearyforLux50–I,1976,RichardHamilton的RichardHamilton研究项目。©RichardHamilton的地产。

“新秩序：艺术，产品，图像1976-1995”的安装视图，Sprüth Magers，伦敦。摄影：Voytek Ketz，伦敦安装视图“新秩序：艺术，产品，图像1976-1995”，Sprüth Magers，伦敦。摄影：Voytek Ketz，伦敦

“我作为克努特国王”，1993年，加里·休谟著。(C)Gary Hume，DACS，伦敦，2019年。由艺术家和斯普鲁斯马格尔斯我作为克努特国王，1993年，加里休谟。(C)Gary Hume，DACS，伦敦，2019年。艺术家和斯普鲁斯·马格斯的礼遇

“新秩序：艺术，产品，图像1976-1995”的安装视图，Sprüth Magers，伦敦。摄影：Voytek Ketz，伦敦安装视图“新秩序：艺术，产品，图像1976-1995”，Sprüth Magers，伦敦。摄影：Voytek Ketz，伦敦