Inside GoMA, art duo Beagles & Ramsay reveal ‘three new NHOTB & RAD fashion lines’. Against an atmospheric sound and lightscape, 50 laser-cut flatpack mannequins with accessories clutter the otherwise majestic space. Some dissembled mannequins lie broken on the floor, perhaps dispelling the short-lived allure of consumer capitalism. But, given the mess, it takes a while to realise that this is intentional and not a conservator’s nightmare.

There are mirrored, headless mannequins which supposedly encourage the viewer to self-reflect on their own consumerist ways, but it’s so on-the-nose that it loses all its metaphorical impact. One saving grace of the sculptural bodies is that they’re made of recycled office furniture and reclaimed display materials. This mass transformation into art objects begs the question: what is their next destination, after serving Beagles & Ramsay’s spikey take on consumerism? The space is also filled with clothing and accessories, nondescript in style to emphasise the futility of buying products for the sole intention of owning more. The immense scale of objects created for this exhibition seems to mimic mass consumerism rather than cunningly undermining it. Their strategy, in which the art duo produce strange replicas of the original products, is flawed. 

While the accompanying video work is not exactly gripping, the digital avatars of the sculptures do have an unavoidable dark essence which will resonate with those bogged down by thin façades of workplace culture. Ultimately, this satirical take on contemporary consumer culture is perplexing, lo-fi and haphazardly organised. It is an exhibition which sadly accentuates the gap between those who ‘get’ contemporary art and those who don’t. There is no shame in falling into the latter category, particularly when faced with an exhibition of this ilk. Given the extraordinary potential of GoMA’s temporary exhibitions, such a visitor experience is a tad disheartening.

Beagles & Ramsay: NHOTB & RAD, GoMA, Glasgow, until Sunday 28 April.