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Oli SorensonInsecticide2020
2020
About the Item
For the exhibition Panorama of the Anthropocene, Oli Sorenson presents an array of works created in a hybrid style that evokes the square layout of Instagram, the pixelated landscapes of Minecraft and the geometric paintings of Peter Halley.
While Halley's paintings refer to philosopher Michel Foucault's panoptic prison cells, Sorenson's images recall the modular infrastructures of post-industrial societies, from computer networks to stock markets, from telecommunication systems to shipping lanes, as well as mining sites or areas of intensive agriculture.
Greatly influenced by musical creation, DJing [1] and its modes of dissemination, Sorenson defines his practice as an "art of remix". Without falling into pastiche or repetition, he questions the aspects of originality and authenticity, in an era of digital information overload. He is inspired by the visual vocabulary of internationally renowned artists to update their forms towards new themes and materials. By privileging acts of quotation and sharing, his works welcome a wider range of creative gestures than those generated by solitary studio work, in order to challenge the idea that artistic production emerges only in a vacuum.
Composed of paintings, digital prints and video screens in extremely vivid colors, the series presented at Plein Sud is designed to occupy the entire wall space of the gallery. Through this immersive display, the artist wishes to draw a portrait of current societies and their artifacts that are accumulating over an ever-increasing area of the Earth, to the point of causing urgent ecological repercussions.
- Creator:Oli Sorenson
- Creation Year:2020
- Dimensions:Height: 24 in (60.96 cm)Width: 24 in (60.96 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Montreal, CA
- Reference Number:1stDibs: LU47610892082
Oli Sorenson’s remix art was first recognised in London, after taking part in numerous media art events at the Institute of Contemporary Art (2003-06), Tate Britain (2006), and the British Film Institute (2008-10). He also gradually established an international profile when performing at ZKM (Karlsruhe, 2002), ISEA (Helsinki, 2004), Mapping (Geneva, 2009) and Sonica Festivals (Ljubljana, 2012). After moving to Montreal in 2010, Sorenson redirected his work towards gallery based projects, and since exhibited at The Power Plant (Toronto, 2014), FILE (Sao Paulo, 2015), Monitoring (Kassel, 2017) and Art Mûr (Berlin, 2018). Sorenson consistently disrupts institutional expectations of the visual artist as a producer of proprietary images. His work exposes the contradictions between limited copyright and massively reproducible media but also asks timely questions about singular authorship in an age of overabundant networked content. Under such conditions, the making of a contemporary work of art involves more distributed processes than isolated generative acts from original authors. Beyond market pressures to produce new and exclusive art objects, lies a material culture of exchange and emulation embraced by networked societies. Sorenson aims to unsettle this prevalence of art created from scratch by promoting gestures of citation and appropriation. When he copies, transforms and combines existing works by established artists, such cultural materials are re-used and recycled not in spite of their propertied ties to private estates but rather by virtue of their belonging to a specific heritage, community and/or collective memory.
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