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INCIDENT No.50: Alex Young

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Beginning with his 1894 publication of ‘The Human Drift’, business magnate King Camp Gillette actively espoused a brand of utopian futurism that blended equal parts socialist egalitarianism and capitalist entrepreneurialism into the framework of a yet-to-be emergent architectural modernism (to be articulated in a somewhat similar fashion in only slightly less neurotic splendor decades later by the likes of the more academically informed continental fountainhead, Le Corbusier).   Gillette would continue to advocate his views―well after establishing his fortune with the success of his razor and ushering in an era of planned obsolescence―through numerous books including ‘World Corporation’ ghostwritten by Upton Sinclair in 1910.  His vision―a social reformer’s bouquet:  free of waste, competition, crime, inequality, filth, &c.―consisted of a series of identical 25 story monolithic multipurpose residential towers composed of glass, steel, and porcelain along with corresponding greenswards that would extend some one-hundred miles along an uninterrupted hexagonal grid, originating from where-else but Niagara Falls; which the late 19th Century mind perceived as an inexhaustible resource.  As such, Gillette intended for all of humanity to dwell in proximity to it, so as to bath in the industrial and social advancements such an arrangement may offer. 
Advancing the willful perversion of claiming authority of Gillette’s voice,  fractured material remnants (print, object, ephemera, video, monologue, diatribe)  from the artist’s inquiry into Gillette in the project ‘Worldshaving’ are indiscriminately splayed out alongside objects and icons from other past and unrealized projects:  most prominently ‘Earth│Man│Earth’ which revolves around a hypothesized necropolitan utopia situated in the bogs of the Jutland Peninsula of Denmark, whose climatic conditions are known for their ability to preserve human remains with near-perfect fidelity for millennia.  These projects are herein united in diagrammatic and iconographic form― utilizing various hermeneutic ploys―defining subjecthood through deferred gestures; evaporating into a cloud of symbol, allegory, and message. 


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young_incident_install4.jpg

young_incident_install4.jpg

young_incident_install4.jpg