In Same Same, curated by Tom Smith, I presented Shanzhai Perfumes where jelly replicas of fake designer perfumes were arranged into a retail display. To me, there was an equivalence between the fluidity of the marketplace and the abject wobbliness of jelly. The counterfeit as a sign is similarly wobbly with its transgressive, shape-shifting nature. Over time, each jelly degraded and became sad droopy figures. I like to imagine that as the jelly began to sag and lean on the perfume bottle from which it was moulded, they were engaging in a slow dance.

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