Auto Italia, London, 22 June 2014 — 13 July 2014
Oreet Ashery, Marleen Boschen, Leni Cedric, Olivier Castel, Benedict Drew, Marianne Forrest, Plastique Fantastique, Mette Hammer Juhl, MacLochlainn, Terence McCormack, Pablo Navarro, Lorenzo Tebano and Richard Thomas
Golden Age Problems, 2014. Courtesy of the artists.

Art institutions sit comfy in the pockets of big corporations, broadcasters continue to sow the image-seeds of a tedious spectacular capitalism and publishers proliferate middlebrow infotainment and zombie-commenters. Compounding the problem, many artists remain enthralled by the mainstream, commercial art world.

As the worlds of art and mass media collide, converge and change, there’s a need to rethink our relationship with the narratives broadcast by these institutions of cultural emission – if they can’t serve us now and for the future, but retrench their ambitions into yesterday’s hallucinations, we must create new options rather than have them created for us. We must create a new world within this world.

Golden Age Problems is an exhibition of images, objects and stages, activated and explored through narrative presentations, a minisite and a series of performance events. Energy is only ever amassed collectively and so for any real transformation to take place we must not work alone. The Auto Italia space becomes a nexus of celebration, dispensing with notions of success and failure, providing collaborators with space and time to imagine alternative, independent entertainment formats: anti-genius narratives, anti-talent show, proactive and present.

The Golden Age Problems minisite – Risk Assessment Image Kiosk has been coded by James Wreford.

With special thanks to Robbie Howells, Katie McCain, Poppy Moroney, Faun Nash, George Nicolaides, Jacob Watmore for bringing it to life.


A Horn Of Plenty At The All You Can Eat Buffet Of Nothing
28 Jun 2014, 19:00 — 21:00

An evening of performance exploring the headspace of entertainment where desire, seduction, power and control make meaning of our world.

The Guardian

Hannah Ellis-Petersen: Where have all the art punks gone?