Welcome to End-Used City
Humanity and technology: a controversial relationship
London-based artist Sidsel Meineche Hansen rides solo in the exhibition presented at Chisenhale Gallery (19th September - 8th December 2019). Titled Welcome to End-Used City, the show displays both new and existing works, as well as a site-specific intervention. The commission runs alongside a busy schedule of events following the same themes.
Entering the space, the visitor is welcomed by the work Hellmouth (To Madame) (2018) acting as a gatekeeper to the gallery; it recalls a medieval theatre prop, representative of the entrance to hell. The audience is then ‘teleported’ into a dystopian reality which addresses urgent, relevant and political themes such as collection and monetization of behavioural and personal data, surveillance systems and artificial intelligence, the relationship between users and providers, and even the one between humans and technology. The presented works highlight Meineche Hansen’s concerns about artificial bodies and their relationship to humanity, within different industries. The gallery space is a big atrium with white walls and a concrete floor, where the works are placed quite far from one another; no benches or seats are positioned in the gallery, but the visitors can feel free to sit on the floor as they enjoy the exhibition. This choice breaks down the barriers between audience and artworks, allowing the visitors to feel immersed in the realities presented in Meineche Hansen’s works.
The most recent work is End-Used City (2019), a video set in London, which explores various types of attachment, governance and surveillance. The interactive artwork relies on the participation of the audience due to the video needing to be activated by a game controller. A bronze decapitated head, next to the TV, represents a physical manifestation of technology.
Maintenancer (2018) documents how sex-love dolls are cared for and maintained in a German brothel, investigating the connection between technological objects, body and reproductive labour. Interestingly, it explores the economic consequences the automation of sex-industry could have in relation to the industry as it traditionally stands, and also the emotional issues that could arise from this. Untitled (2018) consists of two un-opened cardboard boxes, placed in front of the documentary film and contains the head and body of a sex doll, this artwork acts as a thematic complement to Maintenancer.
The site-specific intervention Keychain Secure (2019) questions the concepts of privacy and accessibility: consisting of a wall text, an oversized keychain and a temporary lock on the toilets of the Chisenhale Gallery.
No curatorial text is present, with the only exception of a short anecdote introducing the exhibition, therefore it is necessary to read the brochure provided to fully appreciate and understand the works displayed and how they interconnect. We were lucky enough to meet Emma Moore, Chisenhale’s Curator of Engagement, who widely explained Meineche Hansen’s intentions and aims regarding the exhibition; as well as Chisenhale Gallery’s commissioning programme and public learning strategy.
Concluding, the show presents an interesting reflection on matters that are often overlooked, encouraging the visitor to reflect on these issues which affect markets and sectors so different from one another. Possibly, it may also make the public think twice before accepting the terms and conditions linked to end-user licence agreements next time they come across these contracts.
Welcome to End-Used City continues until the 8 December 2019 at Chisenhale Gallery
All images courtesy of Rosalita Baldassin
Additional resources
A reading list and the exhibition brochure can be found at the following link:
https://chisenhale.org.uk/wp-content/uploads/Sidsel-Meineche-Hansen-at-Chisenhale-Gallery-4.pdf
▄ Rosalita Baldassin
Rosalita Baldassin is a current student at Kingston School of Art, studying on the MA Curating Contemporary Design programme. Originally from Italy, she previously studied Product Design at ISIA Roma Design and 3D Design at Plymouth University. She is an aspiring curator and wishes to work closely with the exhibition design field incorporating her previous studies with her future practice.Baldassin is also passionate about dance, fashion, food, travelling and experiencing different cultures.
Peer Reviewed by: Ruth Mitchell / Guest Editor: Cobalt (Mufan Zhang)
