In her work, Cécile B. Evans examines the significance and role of emotion in contemporary societies as well as the increasing influence of new technologies on our feelings and actions. For her forthcoming show at mumok, Evans creates an architectural video installation. AMOS’ WORLD is conceived as a television show set in a socially progressive housing estate.
The show, divided into episodes, follows an architect called Amos–a cross between Saint-Exupéry’s Little Prince and a brutalistic architect–and the inhabitants of the housing estate. Viewers are first introduced to Amos and some of the tenants, each individual interwoven into the larger infrastructure of Amos’ building. His comfortable perch takes a turn when his perfect individual-communal fantasy for the Capitalist age begins to crumble as the tenants fail to conform to the behaviours he had envisaged. Fissures in this carefully constructed network reveal a breakdown of person-to-person and person-to-infrastructure power dynamics. Seemingly free from the pressures of an outside environment but with a visibly constricted view – how has the networked age impacted the irreconcilable gap between individual rights and the controlling nature of the systems that create them?
Cécile B. Evans (*1983) is an American-Belgian artist living and working in London. Recent selected solo exhibitions include Galerie Emanuel Layr, Vienna (AT), Tate Liverpool (UK), Kunsthalle Aarhus (DK), M Museum Leuven (BE), and the De Hallen Haarlem (NL). Her work will be included amongst others in the 7th International Moscow Biennale (RU), the 4th Ural Industrial Biennal (RU), Galerie Kamel Mennour (FR), and the Louisiana Museum of Modern Art, Copenhagen (DK). It was included among others in the 9th Berlin Biennale (DE), the 20th Sydney Biennale (AUS), Fundació Joan Miró, Barcelona (ES), and the Musée d'Art Moderne de la Ville de Paris (FR). Public collections include The Museum of Modern Art, New York (US), The Rubell Family Collection, Miami (US), the Whitney Museum of American Art (US), the De Haallen (NL), the Castello di Rivoli, Turin (IT), the Louisiana Museum of Modern Art, Copenhagen (DK) and the FRAC Auvergne (FR).
Curated by Marianne Dobner