The Production Line of Happiness
Christopher Williams’ (1956, Los Angeles) exhibition, held in a small room on MAMCO’s first floor, ran parallely to his eponymous retrospective in Chicago and New York. In Geneva, Williams presented various photographic series through unusual pairings. Their smooth and detailed workmanship, comparable to commercial photography, their detachment from all individual or subjective reality, the production techniques employed, and their allusions to postwar Western societies, all echo the “Capitalist Realism” movement in 1960s German painting. The comparison to the better-known ”Socialist Realism,” apparently easy to make, fails in face of Williams’ care to avoid any form of propaganda, rather choosing to draw the portrait of ideologies themselves.