ERRATUM® 2013
Production line workers across the globe are commissioned to insert errors into the products they make every day, rendering them dysfunctional. They are given complete autonomy over the errors they choose to make. The resulting objects form the product collection of ERRATUM®: a dysfunctional luxury brand.
Embedded in the mechanisms of global production & marketing, ERRATUM® rehearses a scenario where the principles of luxury consumption are brought to their logical conclusion. Divested of material function, twenty-one useless objects are subjected to the apparatus of commodity fetishism. This includes fashion shoot, product advertising, TV trailer, sales assistants, pop-up boutique, online store: www.erratum.co
Meanwhile, the social relations governing the production of these objects is presented in masked form: the conditions of labour hover obscurely around the brand communication. Frequently, its surface is punctured by an economic reality, illustrating the chasm that hangs between production and exchange value.
Media : Mis-manufactured objects, printed email correspondence, advertising campaign, billboards, retail furniture, performance, HD video
Exhibitions : Paradise Row (London) V&A Museum (London), Saatchi New Sensations (London), Threadneedle Prize (London), Centre for Chinese Contemporary Art (Manchester) Kunstverein Wiesbaden, The Art Foundation (Athens), Z33 (Hasselt), Artwall (Prague), Nieuwe Vide (Haarlem), Budapest Design Biennale, Cypriana Majernika (Bratislava), National Technical Library (Prague), Oriel Sycharth Gallery (Wrexham), Division of Labour (Salford) Press: Third Text, Artforum, Ibraaz, Manifesto Magazine, TimeOut, Guardian, The Independent, Frankfurter Allgemeine Feuilleton, Aesthetica Magazine, Art:Review, Another Magazine, The Financial Times, Port Magazine, Creative Review, Icon magazine
Embedded in the mechanisms of global production & marketing, ERRATUM® rehearses a scenario where the principles of luxury consumption are brought to their logical conclusion. Divested of material function, twenty-one useless objects are subjected to the apparatus of commodity fetishism. This includes fashion shoot, product advertising, TV trailer, sales assistants, pop-up boutique, online store: www.erratum.co
Meanwhile, the social relations governing the production of these objects is presented in masked form: the conditions of labour hover obscurely around the brand communication. Frequently, its surface is punctured by an economic reality, illustrating the chasm that hangs between production and exchange value.
Media : Mis-manufactured objects, printed email correspondence, advertising campaign, billboards, retail furniture, performance, HD video
Exhibitions : Paradise Row (London) V&A Museum (London), Saatchi New Sensations (London), Threadneedle Prize (London), Centre for Chinese Contemporary Art (Manchester) Kunstverein Wiesbaden, The Art Foundation (Athens), Z33 (Hasselt), Artwall (Prague), Nieuwe Vide (Haarlem), Budapest Design Biennale, Cypriana Majernika (Bratislava), National Technical Library (Prague), Oriel Sycharth Gallery (Wrexham), Division of Labour (Salford) Press: Third Text, Artforum, Ibraaz, Manifesto Magazine, TimeOut, Guardian, The Independent, Frankfurter Allgemeine Feuilleton, Aesthetica Magazine, Art:Review, Another Magazine, The Financial Times, Port Magazine, Creative Review, Icon magazine