Georgie Nettell’s practice could be defined as a revisiting of the tactics of institutional critique in a post-Fordist, neo-liberal present when the artist as creative worker is deemed role model for everyday life. Through various mediums including painting, photography, sculpture and video, Nettell has critiqued the value of art work in the gallery, the artist as producer, the aesthetics of minimalism and abstraction, the creative worker in the home, and what she has called the “fascism of everyday life”, often demonstrating the very process of critique and what is being critiqued in the doing.
Nettell’s work, in performing the now familiar ironic turn towards one’s own complicity in the reproduction of voracious consumer capitalism, bears an aesthetic equivalent to the work’s instigating problematic: the near-monochromatic lifelessness of a repackaged and repurposed disobedience.
Solo exhibitions include Project Native Informant, London, Reena Spaulings, New York, Kunstbunker Nürnberg, Frieze New York with Formalist Sidewalk Poetry Club, Miami , LISTE with Lars Friedrich, Berlin, Group exhibitions include Neu, Berlin, National Gallery, Prague, Krinzinger Projekte, Vienna, Chisenhale Gallery and Genesis Cinema, London , Istanbul Biennial, Raven Row, London and Kunstverein Munich.