Michael Landy's Semi-Detached and the art of making

ABSTRACT

In 2004 Michael Landy exhibited a life-sized replica of his parent's house in the Duveen Galleries, Tate Britain. In common with many of Landy's installations, Semi-Detached was loosely autobiographical and concerned with working-class life. Three films relating to his father's life within the home were played as part of the installation. John Landy had been a miner and a DIY enthusiast who had worked hard at making and mending within the home. Since his accident he had led a more restricted life, and Landy wanted to consider what happened to identity when one is no longer part of that productive system. Although a different form of labour, all of Landy's projects have involved detailed, hands-on work. In order to undertake the installation, the Tate and Landy worked with the Mike Smith Studio, which involved a range of both art production and everyday skills and labour. This article discusses the background, production and display of the installation, and considers the different frameworks of making art and making a home in the construction of self-identity.

KEYWORDS:

• home
• art commisions
• art fabrication
• labour
• the everday
• display
• identity