The Free Market

In this focal point of consumerism, one of the heaviest flows of human traffic in Liverpool sets about its business around 9.00 clock every morning and hustles and bustles till around 5.30.

Pet food, curtains, pigs, cows, tracksuits, glass swans, watches, rugs and a veritable avalanche of crap are all readily exchangeable for your hard earned money or your ill-gotten gains.

On the level above the market and the heads of its loyal subjects, playing in the clouds like Greek mythology dreaming of toy Gods, 14 artists from around the world are, quite simply, having fun. These days that isn't as easy as it sounds.

Having fun is exposing your best and worst observations of consumer society, your hopes and fears for the coming generations, realizations of the collapse of the natural world and its constant capacity for beauty.

Having fun is building ideas with your bare hands and employing your heart, soul and mind to their full in the hope that what materializes has a meaning that is worth communicating.

In this kind of context it is plausible, if not unavoidable, to go heavy on the satirical value of artists occupying the repossessed stalls of the departed and housing themselves in a ghostly market area.

It is much more rewarding however to embrace the rich social significance and deep cultural symbolism, as well as the political, in this happening. Great gasps of energetic and creative life are breathed back into this forgotten shopping area.

Colour and noise return with a greater social and political import creating an atmosphere like any before. The public will return to a market that now offers, as well as a new place to be, new ways of thinking, new ways of seeing and new ways of being.

Like a process of rebuilding something entirely new, the old market is reconstructed and reconstituted by artists whose efforts re-align our vision toward a FREE market. It is a reminder of what art still has time to be.

When the market has been reconstituted and the free market reaches the end of its shelf life, there will be a further emptiness when the art and the artists leave the space. But the resonance is to be one of education, there will be left in place one further example of positive occupation of a disused space.

A victory in the nature of struggle. Whether there is anyone left to understand the importance of repeating the process, with a new integrity and vision, is up to ourselves.

Hopefully there are enough messages transmitted through the work (and hopefully enough receptive antennae) to inspire other individuals to try to realise the powerful potential of their own private interpretations of the world and all its illusions, trickery and beauty.

CAF

 


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