24 September - 23 October
In Arthur Marie’s paintings, tracers from the limitless net of images firing out from data warehouses across the globe are rendered in obsessive eroticised oils. Surveillance images show us the fish-eye of an office space or the strange intervention of a toy truck riding a treadmill in a home gymnasium. An image of a windbreaker forming a small diy-tent in the corner of a room feels supernatural – private space that shouldn’t be seen by anyone, much less immortalised under rock hard varnish.
The spectral nature of Marie’s hyper-realist voyeurism is monitored by Chino Amobi’s Delphic, siren-like characters that emerge from pulsing monochrome voids. They can be read as pathfinders, straddling multiple worlds, like Aira’s naked ghosts. Amobi has discussed neuro-economics as the commodification of all thought and social interaction, life as the infinite office. These are modern day techno-sibyls glowing amongst the artist’s cyber-punk inflected semiology.
Hongxi Li’s chairs lay bare the impossibility of good health in a post-capital ruins. Chairs like At Work (2022) are buckled and contorted beyond their utilitarian function to reveal the lurking dynamics of biopower concealed in the design and architecture of corporatised society.
Together, these works form a cultural hellscape, they are fever dreams of corporatism, the mundane asphyxia of a managerial present
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