Paul Pfeiffer, The Saints,
Paul Pfeiffer recent work investigates crowd behaviour in relation to a spectacle. In his work, The Long Count he manipulates footage from the “Thrilla in
Pfeiffer’s recent exhibition The Saints, examines this theme further. The exhibition takes place in a warehouse situated in the corner of
This is in similar vein to his past works; however, entering into the rear of the white booth a further provocation is created. There are two juxtaposed screens in the booth, on the right plays the footage of the 1966, World Cup Final between
The use of the World Cup footage in an exhibition, metres away from the Wembley football ground appears to denote, English national identity and heritage. The cultural gap between English national identity and the Filipino crowd is where Pfeiffer conducts his experiment. By playing The World Cup to a crowd of Filipino’s he decapitates English football from its history. At first the Filipino crowd were quiet, prompted by Pfeiffer to voice boo’s and cheers at suitable moments. Despite the alien context and the staging of the experiment, a genuine energy proliferated amongst the crowd, the Filipino men bond under a foreign cause without understanding its tradition. Pfeiffer reveals how crowd behaviour is an instinctual rather than cultural phenomenon; it does not rely on collective memory so much as social interaction.
 See Crowds in Power, 1960
 The English national identity has been built in a realm of collective fantasy, glorifying and mystifying past achievements. Whether it is a victory in football or war or reflecting on long-ago colonial conquests, the English continue to share this fantasy.
 …they sang “God save our gracious Queen…” and chanted “..ingla..” (
 or group mentality.