The Nouvelle Vague or new wave of french cinema was like a slap in the face of the conventional film system. Authors became auteurs, structures became resources, the story lost its meaning and the medium became a critical tool that questioned not only the things around us, but how these were presented to us. About 20 years later, the United Kingdom witnessed a new postwar cultural movement emerge out of the decadence of the punk movement. The New Wave, a British music movement, recovered from punk the disappointment, the social boredom and an interest in a very specific aesthetic. At the same time, it incorporated a romantic turn. As a movement it was conscious of its finality, nobody wanted to take the baton from 80s pop; and that awareness provided the source for a despairing air which enveloped the whole movement.
In this enigmatic work, Morey becomes a cultural engineer, a cryptic revisionist who turns the legacy of both movements into a complex and charged scenery. References to this cultural past are not made from the aseptic position of cultural history, rather, all the visual snippets, sounds and fragments of meaning or imagery recovered by the artist are taken through the strict visual sieve so characteristic of this author’s work. Fetish dress, domination and disgust help to juxtapose two cultural movements that would otherwise seem irreconcilable.
If culture has always recovered its own past, adapting it, updating it and interpreting it, in this video we are witness to the deceitfulness of this exercise. Cultural decontextualisation can never replicate the events that have already occurred. And thus, in this piece, any notion of linearity or meaning disappear, the mixture of sentences, actions and characters that make up this video are just mirages of something which happened once already and which is never to be recovered.