Fair Share Fair. Celine Berger, Matthew Cornford, Sam Curtis, Priscila Fernandes, The Artist Taxi Driver, Hilary Jack, Andrew Lacon, Saulius Leonavičius, Jeremy Hutchison, Yelena Popova, John Robinson, Gavin Wade, Tony Squance and Ned James.
Share Fair Share is the title of the exhibition organized by the London gallery Division of Labour in Galería Nueva of Madrid during Opening 2020. There we find two proposals: a Jeremy Hutchison’s video in the ground floor within the Proyector Festival schedule and an installation in the main floor which reminds to an art fair with a virtual fair called also An art Fair.
In this installation, an empty art fair In this installation, an empty art fair, the work can be accessed virtually to the work of Celine Berger, Matthew Cornford, Sam Curtis, Priscila Fernandes, The Artist Taxi Driver, Hilary Jack, Andrew Lacon, Saulius Leonavičius, Jeremy Hutchison, Yelena Popova, John Robinson, Gavin Wade, Tony Squance and Ned James. All stands are occupied by the same gallery: Division of Labour.
Division of Labour’s proyect loaded with critical irony, is an idea of his director, Nathaniel Pitt, who wonders with her about the future and the model of art fairs nowadays. COVID-19 has affected on a deep way art’s fairs development around the world, canceling all celebrations and offering instead virtual proposals through its websites. Division of Labour has developed an online fair device which has a copy in the white walls from Galería Nueva accompanied with posters from Division of Labour’s stands around the world, with a QR code a QR code which visitors can access to view the works of their represented artists and a screen showing the virtual space which contains digital images of the works of art for sale. This device between virtuality and physicality, emphasizes how names of galleries, fairs and artists are those that perversely legitimize this economic and reputational system, with the artistic object itself being an almost expendable or substitutable element.
“Share fair Share” is the watchword from An Art fair exhibition, and also is the tittle from a Jeremy Hutchison’s artwork which was displayed in the stan from Division of Labour in Liste during 2013. This piece has its beginning in a poster which shows protests against economic inequality which take shape around Occupy movement in Basel, 2011. “Fair” concept, traduced to Spanish as a fair, equitable and clean concept also means commercial fair, is meeting place where people from a determined same industry exhibited, sold, bought and advertised their products. Art Fairs’s Age has reached a hyperdevelopment out of logic in the first quarter XXI century. On the other hand, this polysemy shows an ironic and terrible contradiction: ‚¿is fair and transparent the art market? Could it be in some way at some point, considering the subjective valuation from an artwork?
Author: Jeremy Hutchison (in collaboration with Oisin Byrne and Donal Sweeney).
Title: ‘Dear Mr Zuckerberg’, 2020.
Dear Sr.Zuckerberg is a unidirectional dialogue between Jeremy Hutchison and Mark Zuckerberg. The correspondence is done through artist’s channels in Facebook and Instagram, social media platforms from the technologic multimillonaire. In his short messages , Hutchison makes references to personal anecdotes and world crisis, as if he was writing it to a distant acquaintance. In mcloser moments, he recognizes the similarities between Zuckerberg’s life and his life. Both are men, privileged and white. Each one is in quarantine at home with his kids. Each one is protected from the outside world chaos. At those identification moments, the artist deal with the fact he calls “entanglement with stories of white male power”. But also the formality of his speech also hints at the hierarchy between them. Considering that Zuckerberg companies generate income from their users’ online work, Hutchison could be considered an employee, duly reporting to work. At current posts, his letters appears with Zuckerberg’s faces in short animations, presented as mockups. While as lyrics humanizes Zuckerberg, imagining him simply as another human being, the animations present him as a symbol, an icon of wealth and power.
This work in progress acknowledges the trap created by social media. It is a business model that is based on the commodification of the self: experience, expression and identity.
Jeremy Hutchison is a British artist who lives and works in London. Through performance, sculpture and video, he constructs situations that insert disobedience and confusion into hegemonic systems. Many of his projects intervene in production systems, exploring the relationship between consumerism and Empire. He has recently exhibited at ICA London, Modern Art Oxford, V&A London, Z33, Kunstverein Weisbaden, EVA Biennale, Saatchi New Sensations and Fondazione Prada. He received a distinction from the Slade School of Fine Art and was a member of the Whitney Independent Study Program, NYC. He is a professor at Goldsmith’s College and the London College of Communication.