is the title of Sidsel Meineche Hansen
’s solo exhibition at MINI/Goethe-Institut Curatorial Residencies Ludlow 38, and the name of an augmented reality app as part of the show. In the exhibition, a series of wall-mounted sculptures (Hollow Eyed #1-6
, 2017) wax-cast in silicon metal – a raw material of the digital economy, most commonly used in the manufacture of microchips – and roughly approximating emoticons, function as trigger-objects for the app. Once recognized, a superimposed layer of animation, activated through a smartphone camera, narrates a short script narrated by an anonymous A.I. robot, which discusses its exploitation in the tech industry. Both the industrial site for the production of the sculptures, as depicted in the promo video Maybrey Foundry
(2017), and the development of the app become broader contexts for the show.
In addition, the OVER app casts a virtual anti-fa symbol into any physical location in and outside of the exhibition while Anti-fa
(2017), also made from the same material as the sculptures, hangs from Ludlow 38’s façade in order to physically demarcate the space. This piece was made after the closure of the project space LD50 in London last February, following protests against its affiliation with neo-reactionary and alt-right ideologies. As such, Hansen’s reuse of such blunt symbolism is in active opposition to the echo-chamber of extreme right content within the digital realm, and a personal desire to publically address the political correlation between virtual and physical space.
continues previous works by Hansen that consider virtual space as a continuation of capitalist reality. At the core of the artist’s critique is the popular car service Uber’s business model of an app and its pursuit of automation as a frictionless space of connectivity in parallel with Silicon Valley’s contested societal notion of corporate citizenship. The OVER app is available for Android in Play Store (search “OVER Ludlow”) and for iPhone in the gallery.
The exhibition was preceded by this is for you. you are a community. this is my performance. you are my material. this is a prison. leave when you want.
by keyon gaskin
on May 23, and Robot Means Forced Labor
, two public talks by Anson Rabinbach
on May 18, and Louis Chude-Sokei
on May 20, initiated by the artist and organized together with Saim Demircan within the framework of Hansen’s exhibition.
Sidsel Meineche Hansen
is based in London. Her recent exhibitions include SECOND SEX WAR
at Trondheim Kunstmuseum & Gasworks, London (2016); No Right Way 2 Cum
at Transmission Gallery, Glasgow (2016); ONE-Self
at Künstlerhaus Bremen & Temporary Gallery, Cologne (2015), and INSIDER
at CUBITT, London (2015). She is currently included in the group exhibition University of Disaster
at the Pavilion of Bosnia and Herzegovina, 57th Venice Biennale, and will have forthcoming solo shows at Rodeo, London, later this year, and Kunstwerke, Berlin, in 2018.
Curated by Saim Demircan