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'Open Shut Them' by Michala Paludan at C.C.C., Copenhagen


“The most famous hand in the history of economic ideas can’t be seen. This is because it’s invisible. It is invisible because it doesn’t exist. This hand is the economist and philosopher Adam Smith’s image of the mythic invisible hand of the self-regulating market. A metaphor turned economic dictum that stubbornly persists no matter how many times its flat-out inaccuracy has been picked apart. The line held sacred by conservatives, libertarians and right leaning economic apostles appears in the second chapter of Book II of Smith’s An Inquiry into the Nature and Causes of the Wealth of Nations, or simply The Wealth of Nations. The invisible one aside, the word hand appears over one hundred and fifty other times in capitalism’s bible. The first time the hand enters the stage is in the very first chapter of Book One “Of the Division of Labor.”1 There Smith describes the sheer number of hands working together, yet separately on each individuated task required to produce just one pin. Smith, like the other great classical economists, wanted to understand the seemingly alchemical process whereby the organization of work created economic value. To do this he simply counted the hands, on the hunt for what economists today call productivity. The technical definition being the rate of output per unit of input, what likely seems like common sense today: the ratio between what a business produces to sell and the costs of materials and labor that make production happen. The actual protagonist of Adam Smith’s revelatory labor theory of value was a very visible hand for all to see.”
Excerpt from Counting Hands: an incomplete account of working images by Ryan S. Jeffery

7.10.22 — 3.11.22

Photo by Brian Kure

C.C.C.

'Boreal Throne', Off-Site Group Project at Smena, Kazan

'BUZZ' by Karina Mendreczky, Katalin Kortmann Járay at FKSE Studio of Young Artis

'Dieu' by Mélanie Matranga at High Art, Paris

'Fantasy Lands' by Maggie Dunlap & Allan Gardner at Collective Ending, London

'Dead Season' by Vitaly Bezpalov & Karina Azizova at Spas Setun, Moscow

'Duru Duru' by Stefano Serusi at Galleria Arrivada, Milan

'Ø' by Andrea Nacciarriti at DISPLAY, Parma

'Vore' by Jenkin van Zyl at Rose Easton, London

'Bigag & The Bando' by Theodor Nymark at aaaa Nordhavn, Copenhagen

'Mitla' by Andy Medina at Estrella Gallery, New York

'INSIDE OUT' by Poupak Sarah Shoughi at Herrretics, Derbyshire

'LIBERTY' by Débora Delmar at GALLLERIA PÌU, Bologna

'HEARTH' by Liam Denny at Greenhouse Off-Site, Melbourne

'CANDALÙ' by Rachele Maistrello at Almanac, Turin

'Thought-Forms' by Andy Ralph Presented by Final Hot Desert, Nephi, Utah

'The Laws Of Hospitality' by Travis John Ficarra at Lindberg Galleries, Melbourne

'Firmament' by Aaron Christopher Rees at NAP Contemporary, Mildura

'Take The Day Out In Baskets', Group Show at St. Chads, London

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