Brian Reed:Paraphernalia of an Emotional Clearing
2013, Carter Presents
For his third solo exhibition with CARTER presents, Brian Reed has developed new works from his collection of lost or discarded photographic materials of over 20 years.
From these ‘frozen’ chance encounters Reed creates what he describes as ‘processed origins’, enlarged facsimiles of cultural artifacts that are themselves a representation of the real; taking the subject and object of the physical original, and not the role of the unknown photographer, as the main focus. His interests in simulacrum and the surrealist strategy of interpretation through fragmentation (termed by Roland Barthes as the ‘Third Meaning’), inform the work in an endeavour to fashion photographic sculptural monuments to the other.
The other, here, is one that is detached from its original context. The philosophical and psychological connotations, along with the social, economic and political implications associations to otherness are brought into play as we attempt to find reason for these dislocated elements. Surrealists used fragmentation as a system towards knowledge and discovering significance, forcing an exploration to find new narratives; and as we read these images in turn we reflect on our own self narrative construct and how we, may or may not be perceived – outside of it - by the other in accordance with their self narrative.
In the artwork, Paraphernalia of an Emotional Clearing 2013, Reed collates seven images into a multi part work that he likens to a wall of family photographs or photo album; these apparatus, often private, allow the family members to remain linked to a time, place or persons within their lives. The author(s) constructs and organise their lives, building a self narrative chronology, or by theme and event or visual similarity that appeals to them.
Here these detached artifacts are arbitrary joined together in a random situation, force deductive reasoning for a means of interpretation. With the eyes of a voyeur and cultural anthropologist we start to develop and project narratives onto these others. With their original context severed and meaning altered by reproduced and display, do we resort to stereotype to simplify the complex lives of an unknown?
Read the entire article here
August 2010, by Omar Kholeif, Frieze Magazine
In the second part, Liam Gillick’s PLANTA DE ANODIZADO(Anodizing Plant, 2010) becomes the first realised project from ‘Unrealised Potential’. Gillick’s original pitch, which suggested that the products and services of the industrial Mexican company LGD LUCK SA be exhibited in a gallery, is here reinterpreted by artists Brian Reed and Len Horsey. The duo have transformed the space into a mock business fair-style pavilion, presenting the products of the aforementioned company, alongside newly produced advertising videos, and kitsch and colourful modular wall paintings. With a nuanced attention to detail, the artists’ interpretation serves as a luscious geographical warp into the economic and social culture of Mexico – a nation where the corporate veneer masks great social inequality. Of course, both Reed and Horsey are practicing artists, and by choosing them to produce the first of these unrealised projects, Chavez-Dawson is encouraging a political imperative – one that informs visitors that the greatest of all producers, are practicing artists themselves.