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2023.2.15
Disobey Any Cruel or Unjust Rule (London), 2023
Disobey Any Cruel or Unjust Rule,
2023 from
4 Tenets for Europe,
London UK, 15 September 2023.
2023.2.15
2023
Billboards and posters, digital and paper
3 of
4 Tenets for Europe

Moving image: 192 x 288px, 704 x 960px mp4 video, RGB colour, duration 0:10; 1080 x 1920px mp4 video, RGB colour, duration 0:05 and 0:10; 1920 x 1080 mp4 video, RGB colour, duration 0:30
Static digital: 720 x 1056px, 864 x 432px, 1080 x 1920px, 1600 x 400px jpeg, RGB colour.
Paper: 1350 x 2980mm, 1375 x 2905mm CMYK colour.
15 September 2023
Denmark, Finland, France, Ireland, Latvia, Netherlands, Norway, Poland, Spain, Sweden, UK
4 Tenets for Europe
was created in the year the artist turned 60. Each one of the tenets reflects on an aspect of the artist's experience, looking back over 3 decades of artmaking.

In the early 2000s, under the influence of art dealer Jibby Beane,
NOTE
Firrell explored the moral value of disobedience. For the Guardian Newspaper, he designed a projection for the Houses of Parliament:
When the World's Run by Fools It's the Duty of Intelligence to Disobey.


These ideas were also developed in projections for Tate Britain:
If Obedience Invariably Leads to Cruelty, Disobedience Is Our Moral Duty
and
The Rule of Compassion Never Calls for Violence It Calls for Mass Conscientious Disobedience.


The third Tenet for Europe -
Disobey Any Cruel or Unjust Rule
- crystalises the idea that there may be a vital moral element to disobedience. Disobedience - especially mass disobedience - may provide important protections for a society subjected to inept or wicked government or laws.
Disobey Any Cruel or Unjust Rule,
c. late 2022, prototype for
4 Tenets for Europe
later abandoned.
p2023.2.15
In late 2022, the artist developed a prototype (later abandoned) inspired by the Marguerite Duras novel
Emily L
(France, 1987) in which the protagonist is terrified by the appearance of a group of Asiatics at a Northern French Port.

Fear of South-east Asians might speak to Duras's early life in the French colony of Indochina, now Vietnam. Equally, according to her biographer, Laure Adler, Duras and her lover Yann Andréa were drinking six or eight litres of wine a day at the time she was writing the novel. It's not unreasonable to assume, then, that the sudden fear described by Duras was more a symptom of her alcoholism than incipient racism.