Michael McGarry Exhibit
Stevenson – Cape Town
May 24 – July 7 2012
STEVENSON is pleased to present a solo exhibition by Michael MacGarry, a coherent body of work comprising new sculpture, installation, photography and video.
At the nexus of The Other Half: Past and Future Now is the shift from the mechanical processes of the 20th century to the sublimation of industry into service and information in the 21st century. MacGarry writes:
My basic, animistic intent is to articulate and remake the products, objects and physical things I owned and experienced during my youth in the last century, [but] projecting, manufacturing and assembling these things for the second half of the 21st century – a time when I will be dead.
MacGarry’s chief concern here, manifest across diverse media, is with the material reality of objects from the past envisaged for the second half of this century, when the number of lives on Earth will have increased dramatically. The objects of The Other Half are analogue – imagined, consumed, commissioned, assembled and designed. The process is the rationalisation of objects into commodities, coupled with the simultaneous standardisation of the industrial objects used to make them, and shadowed by the rationalisation of human beings themselves through coercion, consumerism and urbanisation into the kaleidoscopic carnival of contemporary advanced capitalism.
The centrepiece of the exhibition is the large-scale sculpture Faro RLV 3-10, an unmanned field artillery cannon (Remote Land Vehicle) of the Nigerian Federal Army in the year 2052, conceived, designed and manufactured by the artist, principally in mild steel. Informing the work is the idea that, in all probability, the United States will in our lifetime engage in military activities against the Federal Republic of Nigeria, under the rubric of ensuring security, peace and stability in the country and the region – at the same time actively securing a reliable source of scarce energy. Faro RLV 3-10 aims to manifest a mechanical, physical resistance to this imperial expansion from a possible future Nigerian state, which might one day build its own defence and military hardware rather than draining domestic GDP by importing such technology and consumables. The (fictional) history of the RLV 3-10 is that it was designed and manufactured by FARO™ (Nigerian Military Industries) in Abuja in 2032, and saw active service in peace-keeping missions to Sudan (2053) and in both US invasions of Nigeria – Operation Sovereign (2055) and Operation Permanent Liberty (2061).
Another key sculpture is Iceman, made in plastic resin from the body cast of a heavyweight bodybuilder; the head and face, however, are those of the artist. Suspended from the wall and dressed in MMA (mixed martial arts) attire, the sculpture is both toy-like and lifelike – an embellished self-portrait as a Nietzschean Übermensch.
The installation La Maison d’une Artiste is a future projection – embodying in equal parts lyrical humour and masculine critique – of the central narrative of Edmond de Goncourt’s 1881 book of the same name. Constructed of laser-cut MDF, this angular housing pod is designed to provide shelter for a single human being. The unit is unadorned save for the very basic requirements of shelter: a single bed, a small print of Brueghel’s Hunters in the Snow and a bolt-action rifle. Inside the structure is a tiny 52-note musical movement playing Handel’s Water Music. De Goncourt’s book provided great inspiration for JK Huysmans’ decadent classic À rebours (1884), the story of a sophisticated young hyper-aesthete who, in an attempt to escape an unbearable loss of meaning, retired to the Paris suburbs to live a life of total isolation amid a collection of art and literature, artificial installations and sensory devices. This sculptural dwelling mimics Huysmans’ dissolute dandy and his enactment of reality, becoming an avatar for his ambivalent achievement of a kind of Gnostic immortality, ironically at the expense of all that he valued in his humanity.
Another underlying theme of the exhibition is MacGarry’s ongoing critique of the relationship between China and postcolonial Africa. This is manifest in an architectural diorama of a fantastical, future African Union Headquarters in Addis Ababa in 2068. Alongside this sculpture will be new oil paintings in the artist’s 1000 Suns series depicting the cities of Africa’s near-future – principally based in nation-states with existing or newfound reserves of hydro-carbons, namely Maputo and Accra.