Jeremy Hutchison

We Make Money Not Art, Interview 2018

We Make Money Not Art, Interview 2018

Crises of labor, language and behaviour
An interview with Jeremy Hutchison, by Regine Debatty
September 10th, 2018

I discovered Jeremy Hutchison’s work in 2011 when he was exhibiting a series of laughable objects he had commissioned to manufacturers around the world. Not only did he ask them to fabricate items that would be unusable but he also requested that each worker had full license to decide what the error, flaw and glitch in the final product would be. Hutchison ended up with a collection of dysfunctional objects and prints of online exchanges with baffled factory managers. Err is an artwork that’s both ridiculous and profound. Behind its perfectly impractical combs, chairs, skateboards and trumpets, lay moments of poetry within the perfectly oiled machine of globalization and an elusive portrait of the anonymous factory workforce that manufacture all the consumer goods we don’t need but have been conditioned to yearn for.

At the time, I was expecting Hutchison to be a one hit wonder. I liked Err so much, i imperiously decided the artist would never be able to live up to everyone’s expectations. And yet, over the years, he kept on creating artworks that "explore improper arrangements of labour, language, behaviour and material to produce crises." Artworks that proved my instincts wrong again and again: canvases involving BOTH an investment banker and an Occupy protestor, an exhibition orchestrated by members of the Sapporo Police Department, a video starring employees of a peanut factory without peanuts and a series of consumer goods that explore the (possible) “well-meaning dictatorship” of design.

Whether it meditates on the condition of the worker or investigates the recuperation of anti-capitalistic aesthetics by capitalism, Hutchison’s work is always imbued with humour and compassion. He’s having a few exhibitions across Europe this month. One of them is Transnationalisms which opens this week at Furtherfield in London. I liked Aksioma‘s version of the show in Ljubljana so much, i thought i’d use the London edition of Transnationalisms as an excuse to get in touch with the artist.

Hi Jeremy. Your project Movables will be part of the Transnationalisms group show that opens this week at Furtherfield in London. I find the work very moving. You sourced an image from the Daily Mail – a website that spreads hatred and contempt towards immigrants – and you used this as a starting point to question the regulations over the freedom of movement. Can you tell me more about this work?

Yes - I came across this photo on the Daily Mail website. It had been taken by police at a border point somewhere in the Balkans. The image showed the inside of a Mercedes: the headrests of the front seats had been torn open by police, revealing a human body hiding inside each seat. This photograph testifies to a reality where human bodies attempt to disguise themselves as inanimate objects, simply to acquire the same freedom of movement as consumer goods.

In Movables, I translated this absurdity into a series of photo collages. They combine elements of high-end fashion shoots and car adverts – enacting an anthropomorphic fusion between human bodies and consumer products. The results are sort of uncanny. They appropriate a familiar visual language, but distort it to present a series of freaks. In doing this, I wanted them to embody a contradictory premise of global capitalism – with respect to the freedom of movement. Capital requires ‘free’ individuals to function as cheap labour forces. But it simultaneously needs to restrict their movement since it can’t offer the same freedom to everyone.