Ride the Judd: Act 1: “Public Private Partnership” 

12. Feb - 18. Feb 14 / ended Hardy Tree Gallery


11-3pm Monday-Saturday or by appointment.

Exhibition | Multi-disciplinary | London

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Ride the Judd: Act 1: “Public Private Partnership”

“When times are tough and money is tight, our focus must be on culture’s economic impact.”
—Maria Miller, Secretary of State for Culture
“Be careful what you wish for, you may get it.”
If, as Raymond Williams once controversially suggested, culture is ordinary perhaps the only thing more ordinary than culture is economics. “Economic impact” is a multisided concept with consequences for the reception, production and interpretation of art. Ride the Judd’s first Act, “Public Private Partnership”, seeks to place both “culture” and “economics” in focus. Both forms have many faces, some welcoming, some exclusive. The relationship of art and “culture” to the economic systems which sustain, antagonise, and/or generate it presents questions which complicate the most basic assumptions about the creation of art and the existence and role of the artist in contemporary society. If “times are tough” and “money is tight” why has the art market been so robust at a time of global economic retrenchment? Perhaps asking questions about the esoteric vagaries of the market may reveal answers about the state of visual art. In its inaugural week, Ride the Judd brings together the work of three artists addressing aspects of the aesthetics, representations, and iconography of contemporary consumer society.
Michael Pybus’ laminates encase images from popular culture and advertising in a transparent medium. The works freeze images initially composed or appropriated either for their iconicity or for their meretriciousness and presents them as something like geological stratae of the contemporary pop-consumerist visual environment.
Olsen’s research and artistic practise focusses on the relationship between the advance of technology, the embodiment of consciousness, and the workings of consumerist production cycles. His piece for “Public Private Partnership” takes the hoary economic adage about “building a better mousetrap” to an entirely new level, reimagining the hairbrush as quasi-sentient, photosensitive, and eminently futuristic.
Irene Pérez-Hernández considers the nature of the loop and the curve in her work, concepts central to the representation of economic data. The curve, in Pérez-Hernández’s work, foregrounds the geometricity of the fundamental shape in which all economic exchange is represented, sensualising, complicating, and animating a supposedly “neutral” visual device.
Business, economics, art, cultural production and work will also be the focus of a discussion and series of performances on Sunday 16 February from 3-6pm.


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