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The Progressive Development Plan

The Progressive Development Plan

Private View: 6-9pm, Friday 25th June 2004.

The Empire, 33a Wadeson Street, London E2 9DR. June 26th - July 2004. Opening times Thurs-Sund 12 to 6pm.

A group show featuring six London based, trans-national artists.
Demand for contemporary art is growing. Rapid intensification of urban living, cultural migration within the expanded European Block, and advanced-level research contacts amongst young artists mean that the more parochial features of our indigenous ‘British’ art scene are rapidly being marginalised and made redundant, incomprehensible to a diverse constituency. The over-investment in popular culture in the 1990s has led to a downward trend producing a symbolic ‘bubble economy’, which threatens negative cultural equity for thousands of gainfully employed London-based artists.
Whilst there are risks, this situation also presents great opportunities for expansion of current artistic positions. The Progressive Development Plan promotes a sustainable growth-curve of artistic and cultural investigation, offering medium-hard projections for developments in socio-political content and art-form provision. The Progressive Development Plan presents the current work of five international representatives of the London region’s freelance art producers, individuals on the leading edge of the new global localness. In the current indexes of political and cultural disorientation, The Progressive Development Plan puts forward concrete, feasible solutions to the trans-national requirements of a globalised art constituency, prototyping new forms of attention for a fast-moving art world, in which today’s suburb is tomorrow’s centre.

Maurizio Guillen, (United Mexican States) produces detailed photographic analyses of social situations in which individuals are restricted in their access to human interaction and public space. Building on recent developments in this area, Guillen approaches the art-social divide with long-range humour and content-rich visual analogies.

Mustafa Hulusi (United Kingdom of Great Britain and Northern Ireland) pulls razor-edged barbs from the soft image-belly of contemporary banality. In a soft, colour-rich culture, Hulusi’s polished and severe monochrome images of defunct war machinery and synthetic femininity attack the embarrassing secret of the media image; the pleasure of looking above the content seen.

Ergin Cavusoglu (Republic of Bulgaria) creates scenes of surveillance which collide the video aesthetic of political paranoia with the intimate voyeurism of the urban drifter. Cavusoglu’s subjects are people and urban landscapes, each endowed with a strong, idiosyncratic presence, yet always alien to each other.

Susanne Kohler (Federal Republic of Germany) forms elegant composite silhouettes of female urban cyclists, framed by romantic foliage within old-fashioned frames. Kohler’s primitive yet detailed silhouette technique produces contradictory evocations of metropolitan life and its apparent repression of the sublime in daily experience, which erupt in Kohler’s evanescent figures.

Alison Moffett (United States of America) bypasses contemporarie life and escaping shifts into a fantasy word tha lusts for the moving and the meloncholic. She creates large scale drawings, painstakingly meticulas depicting frozen scenes from bleak beauty not to be found outside stories and literature. In these, botanical illustration is enlarged and combined with imaginative narrative, sinister and perfect.

O Zhang (The Peoples republic of China) photographs small Chinese girls as they crouch down and stare back at the camera. Dominating the frame and the spectator, Ziang’s little subjects offer oddly sinister and uncomprehending expressions. The West’s self-conscious fascination with contemporary China reverberates through Ziang’s portraits, which co-opt the brand-logo myth of childhood innocence and global harmony, making her endearing subjects alien, monstrous and threatening.



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