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Cécile B. Evans

Amos' World: Episode One

23 Mar - 01 Jul 2018

Cécile B. Evans
Video Still: AMOS‘ WORLD: Episode One, 2017
Courtesy the artist and Galerie Emanuel Layr, Vienna/Rome
Cécile B. Evans
Video Still: AMOS‘ WORLD: Episode One, 2017
Courtesy the artist and Galerie Emanuel Layr, Vienna/Rome
Cécile B. Evans
Production Still: AMOS‘ WORLD, 2017 Credit: Yuri Pattison
Cécile B. Evans
Video Still: AMOS‘ WORLD: Episode One, 2017
Courtesy the artist and Galerie Emanuel Layr, Vienna/Rome
Cécile B. Evans
Video Still: AMOS‘ WORLD: Episode One, 2017
Courtesy the artist and Galerie Emanuel Layr, Vienna/Rome
Cécile B. Evans
Video Still: AMOS‘ WORLD: Episode One, 2017
Courtesy the artist and Galerie Emanuel Layr, Vienna/Rome
Cécile B. Evans. AMOS’ WORLD: Episode One
Exhibition view at mumok Vienna 2018 © mumok/Klaus Pichler
Cécile B. Evans. AMOS’ WORLD: Episode One
Exhibition view at mumok Vienna 2018 © mumok/Klaus Pichler
Cécile B. Evans. AMOS’ WORLD: Episode One
Exhibition view at mumok Vienna 2018 © mumok/Klaus Pichler
Cécile B. Evans. AMOS’ WORLD: Episode One
Exhibition view at mumok Vienna 2018 © mumok/Klaus Pichler
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 solo show at mumok, Evans created 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 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 (born 1983) is an American-Belgian artist living and working in London. Recent selected solo exhibitions include Castello di Rivoli (IT), Galerie Emanuel Layr, Vienna (AT), Tate Liverpool (UK), Kunsthalle Aarhus (DK), M Museum Leuven (BE), and De Hallen Haarlem (NL). Her work has been included amongst others at Haus der Kunst (DE), Mito Art Tower (JP), Renaissance Society Chicago (US), the 7th International Moscow Biennale (RU), the 4th Ural Industrial Biennial (RU), Galerie Kamel Mennour (FR), and Louisiana Museum of Modern Art, Copenhagen (DK), the 9th Berlin Biennale (DE), the 20th Sydney Biennale (AUS), Fundació Joan Miró, Barcelona (ES), and Musée d’Art Moderne de Paris (FR). Public collections include The Museum of Modern Art, New York (US), The Rubell Family Collection, Miami (US), Whitney Museum of American Art (US), De Haallen (NL), Castello di Rivoli, Turin (IT), Louisiana Museum of Modern Art, Copenhagen (DK), and FRAC Auvergne (FR).

Curated by Marianne Dobner
 

Tags: Marianne Dobner, Cécile B. Evans