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Jordan McKenzie's work spans film, sculpture, drawing and curation, employing performance as a way to satirise political subjects including class, sexuality and national identity.
McKenzie often adopts alter-egos that draw upon popular culture's stereotypes and clichés. His Monsieur Poo-Pouri, a flamboyant “gentleman’s gentleman” replete with waistcoat and twirled moustache, lives out a refined lifestyle associated with the upper crust within working class means, readily confusing his council estate for a country estate and the British seaside for the French Riviera.
Similarly, McKenzie’s drawings address performance as an expanded field. His controversial Spent series connects orgasm with automatic drawing, lampooning historically macho concepts and minimalism’s hands-off aesthetics.
McKenzie’s work is regularly exhibited in the UK and internationally, featuring at museums, art centres and festivals including Tate Britain, Courtauld Institute (both London), Tramway (Glasgow), Ikon (Birmingham), Museu Serralves (Porto), Arnolfini (Bristol), DOLL (Lausanne), Klub Kultury (Krakow), Centre for Contemporary Art (Glasgow), Bunker Sztuki (Krakow), Baltic (Newcastle), Stromereien Festival (Zurich) and the Third International Festival of Performance Art (St. Petersburg).
McKenzie's curating projects often place art in community environments, such as Lupa, a pop-up monthly performance and cinema festival located in the lock up units of an east London council estate.