Carey Young, "Memento Park," 2010. Video still, HD video, 10 minutes 24 seconds, looped (detail).
Cornerhouse 70 Oxford Street . Manchester M1 5NH Tel: GB +44 1612287621 Appeler exhibitions@cornerhouse.org www.cornerhouse.org/donotrefreeze Tue - Sat 11am - 6pm . Thu late night until 8pm . Sun 2-6pm Free Admission
Cornerhouse, in conjunction with Eastside Projects, Birmingham and mima, Middlesbrough, presents a major touring solo show by acclaimed artist Carey Young. This exhibition, reconfigured for each venue, surveys the artist's investigations of language, rhetoric and performance. The show features a newly commissioned video work Memento Park (2010), alongside a number of key video works and recent photographic, text and telephone works.
Memento Park (2010) extends and reframes Young's interests in performance, politics and leftist ideas. Filmed in a statue park in Budapest, which contains a large collection of monumental, Soviet-era statues containing in poses of 'suspended animation', we see the figures surrounded by bustling contemporary life passing by outside the park, which undercuts the statues' historical importance and impressive physical impact by giving them a provisional, peripheral context. Nevertheless, the seductive lushness of the surrounding greenery, shot mainly at the beginning and end of the day, gives these icons of propaganda a strange and beautiful serenity.
This exhibition also includes UK premieres of several works, such as Product Recall (2007), a video in which the artist undergoes a psychoanalyst session relating to contemporary advertising. Further works that complete the show include monitor based video works, I Am A Revolutionary (2001) and works from the photographic series Body Techniques (2007).
Carey Young's celebrated and pioneering work focuses on the interconnections between economic systems, legal language and contemporary culture. Using a variety of media and settings she often uses found tools, language and training processes from the worlds of the multinational corporation and global law firm, altering them to create fictional and absurd scenarios which explore notions of performance, autonomy, criticality and imagination. Positioning herself as an insider to these predominant systems, she takes a stance between complicity and resistance as she criticizes them playfully through the use of their own methods and language.
