#0047bb is a process and body of work, that works to demystify the socio-cultural cult of the artist — seizing art production the artist and their practice(s) — back from the historical clutches of the elite and re-positioning them within the systems of our contemporary capitalist dystopias.
Comprised of a body of photographs that also evoke a relationship with and to sculpture, #0047bb’s material and thematic terrain finds footing in the ubiquitous, much like the monobloc chairs that make up some of the artworks’ composition. Much like capitalism and its omnipresence — much like its saturated legacies, “repeating, replicating, duplicating processes that drain culture, objects and life of their idiosyncrasy, their spark and potential. [Becoming] copies and copies of copies.” (Jamal Nxedlana).
Generic objects take on the form that the exploitative conditions require. They are flexible and on demand. This is represented by the flexibility of the actors’ bodies and their fluidity — they take on no real form they are always ready to respond to the demands of the market, their users , their abusers. They are [in states of permanent instability].
To turn to a phrase often attributed to Slavoj Žižek and Fredric Jameson, “It’s easier to imagine the end of the world than it is to imagine the end of capitalism,” — with all of its abstracting and cannibalistic logics. “Work and life become inseparable” (Mark Fisher, Capitalist Realism). Person and object become indistinguishable, both commodified. In the images they exist on the same plane one morphing into the other, both properties of the scene — in the belly of capitalism’s big white whale, what is singular becomes mass produced, what is human becomes objectified.
What can Faceless limbed bodies(?) tell us about post colonial (nervous) conditions and our capitalist dystopias?