Not exact matches
Taking the form
of a constantly reworked potential text, it comprises a series
of theoretical and fictional
narratives that evolve from Gillick's research
of past and present evaluations
of the aesthetics
of social systems by focusing on
modes of production rather than consumption.
Somehow reminiscent
of the great science fiction writers
of the 19th and 20th centuries, the dystopian
narrative opens a wider horizon on half - abandoned, half - experimental factories, on dissolving distinctions between free and labour time, useful and vain
modes of late capitalism
production.
These different
modes of photographic
production, whether staged or found, feed into the ongoing
narratives that Lawson engages.
Stan Douglas immerses himself in the circumstances
of photographic
production at various points in history, investigating in his own work how
modes of representation and
narratives become iconic.