It is not a modern idea for an artist to work with the mechanisms of popular culture while simultaneously taking on its supporting structures, Warhol did it in the 60s, Koons did it again in the 80s. They utilised what was for their period contemporary icons and gave them value.
Warhol did this through silk screens, movies and magazines while Koons used stainless steel, brass and porcelain. In both cases their use of these specific materials was precisely geared to the commercial market.
Brian Reed alias breed PRODUCT played with the peripheries of the art world and the commercial tack that surrounds an exhibition, 'Century City' T-shirts, Tate Modern rubbers or local gallery badges. For Reed it was all about the tack and nothing else, it was all posters, T-shirts and coasters but no 'art.'
Mike Dawson, 'Present & Display', meanwhile was concerned and interested in the ideology of value and success within the art world and its relation to the media world. It is these particular mechanisms that fuels his alter ego 'the Gallery Guard ' whose obsessive search for the perfect experience of art and perfect location for art has the peculiar effect of blurring distinctions between reality and fiction.
The passionate colour red was the first thing that confronted the vistor as they entered into the urban industrial space of Chorlton Mill, Manchester.
The gallery is located in a 'regenerative' area which presently means more builders than residents. The use of the colour red was not just a means to grab passer-byes attention it is a deliberate ploy. It represents the extensive use of the colour in advertising and brand logos such as Coca Cola, Pepsi, Nike, MacDonalds, Levi's and Nescafe to name just a few.
It is a colour that personifies power and seduction, which may explain why Dawson and Reed had chosen to hang symbols that are associated with power on the red walls, even if they are all fake: fake sterling, fake articles and fake art.
Before even entering the exhibition a gigantic security guard had to be negotiated, his presence instils a sense of apprehension. Once in the space a huge eviL's sign is immediately opposite, it is reminiscent of the neon signs of late night snack bars that line the surrounding streets. Fast food and fast fashion have entered the gallery.To the left of this is a diptych of stills from fake Nike advertisements.
Fabricated adverts of forged Nike clothing which reminds us that seeing isn't always believing and that there was in fact no such thing as an original. Situated next to this was a monumental photographic piece which depicts a young man playing a spanish guitar whilst wearing a black sweat shirt bearing the phrase 'I Just Want to be a ****ing Cool Artist.' This idiom seems too popular with creator Dawson as it reoccured on a range of T-shirts directly opposite.
Reed also utilised the idea of the T-shirt his bearing the 'EviL's' logo on the front and the ominous words 'There is no savour ' printed on the back.For all the hype over hype the show seems to be to base, futile and antagonistic. Are these really the emotions that the orchestrators of 'Lavish Conviction' wanted to produce?
The London based Reed and Mike Dawson had served up a show that attempted to explore 'value' and how it is constructed. Though why they hide behind brand signs is quite bewildering.They were more akin to kids nicknames or graffiti artists tags, it can only be assumed that this was what they are attempting to expand upon.
While I am aware that I maybe playing into their hands I would say this is critically facile. The 'Manchester' rather than 'Madchester' lot seemed to be heading in the right direction with its budding 'Infrastructuralists.' Which would seem, sadly, to have been temporarily over shadowed by that grandiose show, that appears to be ten years too late.
This being the kind of work that attempts to be critical of the supporting structures that validates both the art and media world's alike.
