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HD, Single-Channel Video, Colour, Sound
El mite d’Atenea es converteix en un vídeo generat per un model d’intel·ligència artificial fet a mida, entrenat a base de vídeos de Simnett tocant la flauta. Una figura femenina que parpelleja, atrapada en un bosc blau de tecnicolor, es troba en una transformació constant i, de vegades, el seu rostre adopta un aspecte semblant al de Simnett. Si el cos d’un monstre és necessàriament un cos social,1 la forma del qual està determinada per acumulacions d’ansietat cultural, obsessió i desig, l’OGRESSA de Simnett celebra «les promeses dels monstres».2
1 Vegeu Jeffrey Jerome Cohen, Monster Theory: Reading Culture (1996).
2 Vegeu Donna Haraway, The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others (1992).
The multi-disciplinary artist Marianna Simnett works with film, installation, drawing, and sculpture. Her works center around the overlapping and at times incongruous themes of vulnerability, autonomy, control, pain, metamorphosis, and care. She uses narrative structures gleaned from fairytales, fables, and personal experience to creative immersive, visceral scenarios that engage notions of physical distress and release, focusing on the social, historical, and economic systems deployed to control human and animal bodies. Marianna Simnett (b. 1986) lives and works in Berlin. Her work has been exhibited internationally in solo exhibitions at venues including Institute of Modern Art, Brisbane; Frans Hals Museum, Haarlem; Kunsthalle Zürich; MMK, Frankfurt; and the New Museum, New York. Selected recent group exhibitions include the The Milk of Dreams,Venice Biennal (2022); Espressioni: The Epilogue, Castello di Rivoli, Turin (2022); British Art Show 9, various cities (2021); A Fire in my Belly, Julia Stoschek Collection, Berlin (2021).