Rebecca Geldard
londonart.co.uk

In the redesigned space of Delfina, digitally printed vinyl sheets hug newly curved surfaces. Michel Majerus' installation poses as an inverted hall of mirrors, spewing back the familiar forms of imagery that filter through our lives on a daily basis. Images and text converge, brazenly provocative and slickly disfunctional within a mixed up realm of corporate presentation packages and kids' TV. Shifting from surface to surface, the flow of information appears, from certain angles, pointedly specific, as a whole, strangely indiscriminate. Cultural icons and fictional characters interact as easily as news bulletins and infomercials, murder and stain removal. The screen and the billboard have fused, dripping data from warped curves.
 
With information reduced to abstract strands of titillation, the corporate logo, commercial product and shocking image lose their meaning. We are reminded that it is for distraction only. As Mohammed Ali prepares to punch Liam Gallagher, so Robbie Williams shakes a defiant fist. The Teletubbies hover about with intent, oddly at home against a backdrop of surreal imagery. Scenes of excess and death appear as disturbing as giant cakes. In the shadow of pop-culture, Majerus' environment seems less about now than our preoccupation with it. The non-linear, throw-away nature of information is reiterated as one trend eclipses another. From the midst of a visually saturated, vinyl coated hell, it is possible to emerge intact but ever-so-slightly numb.