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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.

'Cosmovisions', Group Show at Medusa Offspace, Brussels

'No Time To Explain' by Paul Robas at Solito, Naples

'Night Rider' by Yan Posadsky at Devyatnadtsat’, Moscow

'Funding Emotions' by Magnus Frederik Clausen and Kaare Ruud at Cantina, Aarhus

'What I felt for you was love', Group Show at Afternoon Projects, Vancouver

'Mirror Stage' by Bora Akinciturk and Ella Fleck at Shipton, London

‘Millions Now Living Will Never Die!’ by Ian Swanson at Plague Space, Krasnodar

'VEGAN' by Jack Jubb at house of spouse, Vienna

'Fresh Hell' by Jonah Pontzer at Rose Easton, London

'It's quite like Guggenheim', Group Show at Ringcenter 1, Berlin

'OUTER DARKNESS', Off-Site Project by Allyson Packer in 1698 GALISTEO, SANTA FE

'mareas' by Elizabeth Burmann at Galeria Patricia Ready, Santiago

'Vape Cloud Premonition' by Sam Hutchinson at Forth, Nottingham

'Punch-Drunk' by Yutaro Ishikawa at LAID BUG, Tokyo

'Le sort des Labourgue' by Angélique Aubrit & Ludovic Beillard at Les Capucins, E

'All is Full of Love' by Michiel Ceulers at Pizza Gallery, Antwerp

½, Group Show at Devyatnadtsat’ gallery, Moscow

'Shady Garden' by Immanuel Birkert at Galerie Tobias Naehring, Leipzig

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