OVER 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.
OVER 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, UK. Her recent exhibitions include SECOND SEX WAR at Trondheim Kunstmuseum, Trondheim, Denmark & Gasworks, London, UK (2016); No Right Way 2 Cum at Transmission Gallery, Glasgow, Scotland (2016); ONE-Self at Künstlerhaus Bremen, Bremen & Temporary Gallery, Cologne, Germany (2015), and INSIDER at CUBITT, London, UK (2015). She is currently included in the group exhibition University of Disaster at the Pavilion of Bosnia and Herzegovina, 57th Venice Biennale, Venice, Italy, and will have forthcoming solo shows at Rodeo, London, UK later this year, and Kunstwerke, Berlin, Germany in 2018.
Programming and 3D design by Tommie Introna and James Wreford (Blackshuck)
Wax casting by London Bronze Casting and Maybrey Foundry
Installation by Bryan Osburn and Marc Paradise
Metal fabrication by John Murray
Text by Saim Demircan and Sidsel Meineche Hansen
Graphic design by Sunny Park and Scott Langer
Exhibition photography by Yair Oelbaum
Curated by Saim Demircan
Assistant: Julia Weiss
Gallery Assistants: Amelie Meyer and Hiji Nam
The exhibition is generously supported by the Danish Arts Council
All works courtesy of the artist and Rodeo, London
Thanks to Wenzel Bilger, Georg Blochmann, Louis Chude-Sokei, keyon gaskin, Yasemin Gedek, Katy Green, Lee Grice, Anne-Mette Meineche Hansen, Tom Hirst, Eric Jarosinski, Sylvia Kouvali, Lisa Kuon, Nicola Lees, Anson Rabinbach, Kari Rittenbach, Michael Sanabria, Adam Sinclair, Sara Stevenson, and Ben Vickers