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HD, Single-Channel Video, Colour, Sound
El mito de Atenea se convierte en un vídeo generado por un modelo de inteligencia artificial hecho a medida, entrenado a base de vídeos de Simnett tocando la flauta. Una figura femenina que parpadea, atrapada en un bosque azul de tecnicolor, se encuentra en una transformación constante y, en ocasiones, su rostro adopta un aspecto parecido al de Simnett. Si el cuerpo de un monstruo es necesariamente un cuerpo social1, cuya forma está determinada por acumulaciones de ansiedad cultural, obsesión y deseo, la OGRESA de Simnett celebra «las promesas de los monstruos».2
1 Véase Jeffrey Jerome Cohen, Monster Theory: Reading Culture (1996).
2 Véase 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).