Jordan Doner’s debut solo show at Serge Sorokko Gallery called A Revolution in Luxury, is part of the artist’s ongoing series about fashion, consumption, and vague concepts of utopia. New York photographer Jordan Doner takes (supposedly) limited edition Louis Vuitton luxury handbags by Takashi Murakami and Richard Prince, fills them with explosives, and then documents the moment when the explosion occurs. The site-specific installation features large-scale color photographs, photo-etched metal plates, sculptures, walls of hung parachute material and video works.
According to Doner, the idea for the series came from researching mid-century utopianism. His research pointed him to Michelangelo Antonioni’s film Zabriskie Point. Doner was captivated and inspired by the final scene of the film, where in a tremendous explosion, a home with designer goods and space-age food, are all blown apart in beautiful slow motion.
By borrowing from the film’s critique of a consumerist utopia and the ‘blow-things-up’ technique, Doner took limited artist-edition Louis Vuitton handbags and detonating them in Upstate, New York. The photos and the harvested debris from these explosions were first exhibited the end of 2009.
This new series on display at Serge Sorokko Gallery, expands on those original explosions by packing the bags are with luxury ‘shrapnel’, as Doner calls it all – luxury watches, sparking jewelry, lipstick, stiletto heels, rhinestone encrusted cuffs, and silicone breast implants.
First, here are my doubts. At the prices that the bags go for, around $2500 – what if the bags are fakes? What if Doner’s critique is in fact a postured critique using fake bags? NYC, the artist’s hometown is known as a source for fake luxury bags in Chinatown. In which case, Doner’s desire to blow up the utopian consumerist ideals by blowing up symbolic representations of that ideal, in fact achieves only the opposite by blowing up fake luxury handbags. Because of the status of the bags within the context of this show is so paramount, I was hoping to see the actual tags and receipts somehow presented to verify the theoretical position of the explosion.
Secondly, there’s the question of the source material reference, and the artist’s dialogue with the work of Antonioni. Doner’s work should be seen as a cover version of the Antonioni, instead of an iteration of the idea, which would make the discussion much more interesting. If Doner’s work celebrates the blowing up, by replicating the explosion, with luxury goods or with other status signs, the homage becomes an action in support. The blow up then serves as an anti-consumerist utopian exercise.
Also in this series, Doner explores several contemporary artists in his Antonionian utopian critique of luxury arts by exploding scale replicas of Donald Judd’s volumetric “boxes” and an Equilibrium Tank sculpture by Jeff Koons – (that must be fakes). The gallery proclaims that the “debris from the destruction will be displayed alongside the resulting artworks in a near-forensic manner.” While I certainly take issue with the idea that the artworks are displayed in a near-forensic manner, once I understand the idea of the fake art work being part of the anti-consumerist exercise, by including a critique of contemporary art consumption, with the choice of the artists that he selects, the work really seems to start to take shape.
Lastly, the space is swaddled in backlit parachutes that are reflected and refracted with mirrors and photographed. With this, the artist crafts wall sculptures, mixing actual parachutes with his photographs of ones to create his own personal “utopias” in an attempt to fade the distinctions between the projected materialistic fantasies of a luxury class and everyday reality. In this way, according to Doner, the entombing of the gallery in white military parachutes blurs the representation and physicality of the artist’s utopian critique evident in the photos and videos.
With this I disagree. The images of the parachutes are beautiful, though they don’t really work in the ‘blow-up’ critique, nor do they suggest a new utopian path – and if they are meant to, that path is completely obscured. But the photographs are stunning regardless of the ‘new path’ suggestion.
The photographs and the videos are great. They are mostly pictures of things blowing up and that’s almost always pretty cool, and the parachute pictures are pretty.
And yes, as an Antonioni exercise, storied within a critique of class, consumption, luxury and fashion, it’s a great success. Though having been photographed by a fashion photographer, and on display along one of the toniest shopping streets in San Francisco, across from the Paul Smith, Alexander McQueen and Agent Provocateur store, where bras sell for $800, it’s also deeply and likely unintentionally ironic as well.
One must only wonder how Doner decided to price his artwork. Did he price them as surrogate luxury goods, critiquing the consumption of luxury goods?
With that last question everything becomes so meta that viewers heads are ready to explode, with the anti-utopian critique coming full circle back to the viewer.
The show marks Doner’s first exhibition in San Francisco.
Serge Sorokko Gallery 55 Geary Street San Francisco CA 94108 (415) 421.7770 http://www.sorokko.com
Written by POVarts West Coast Editor: Chuck Frank