Post-Capital: Art and the Economics of the Digital Age at Kunsthal Charlottenborg

Artists: Ei Arakawa, Mohamed Bourouissa, Cao Fei, Simon Denny, Lara Favaretto, GCC, Guan Xiao, Shadi Habib Allah, Roger Hiorns, Oliver Laric, Liz Magic Laser, Katja Novitskova, Laura Owens, Yuri Pattison, Sondra Perry, Josephine Pryde, Nick Relph, Cameron Rowland, Hito Steyerl, Martine Syms, Nora Turato

Exhibition title: Post-Capital: Art and the Economics of the Digital Age

Curated by: Michelle Cotton

Venue: Kunsthal Charlottenborg, Copenhagen, Denmark

Date: September 17, 2022 – January 15, 2023

Photography: all images copyright and courtesy of the artists and Kunsthal Charlottenborg

Post-Capital brings together works of sculpture, painting, photography, video and performance that address the nature of production, consumption and wealth. The exhibition takes as its starting point the inherent paradox within a capitalist system that is both dependent upon and threatened by technological progress.

Today, forms of labour, currency, commodities and the nature of consumption have been dramatically transformed by technologies that continue to evolve. Information that is both abundant and infinitely replicable has become a valuable commodity that defies traditional economic principles, whereby value is determined by scarcity. Post-capital presents works by twenty-one artists that variously explore the aesthetics, paradoxes, absurdities and ethical questions posed by post-industrial and perhaps post-capital economies.

Participating artists: Ei Arakawa, Mohamed Bourouissa, Cao Fei, Simon Denny, Lara Favaretto, GCC, Guan Xiao, Shadi Habib Allah, Roger Hiorns, Oliver Laric, Liz Magic Laser, Katja Novitskova, Laura Owens, Yuri Pattison, Sondra Perry, Josephine Pryde, Nick Relph, Cameron Rowland, Hito Steyerl, Martine Syms, Nora Turato

Post-Capital: Art and the Economics of the Digital Age is curated by Michelle Cotton and produced by Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean in close collaboration with Kunsthal Charlottenborg.

A fully illustrated catalogue including a curator’s essay and texts on the artists and their works is available from Kunsthal Charlottenborg’s bookstore. Post-Capital: A Reader also features recent writings by leading international thinkers in economics, art, and culture, including excerpts of books by James Bridle, Heike Geissler, Richard Seymour, Hito Steyerl, McKenzie Wark, and Shoshana Zuboff.

The exhibition is supported by Augustinus Fonden, Beckett-Fonden, Knud Højgaards Fond, Det Obelske Familiefond, Statens Kunstfond, William Demant Fonden, Aage og Johanne Louis-Hansens Fond.

Yuri Pattison, The ideal (v/0.3.2) (2015-2021). Laura Owens, Untitled (2015). Ei Arakawa, Single’s Night (Duration: multiple times in total of 3 hours, & approx. 80 hours on preparation, Honorarium: 1,000 GBP, 0.20 GBP per minute) (2020), YouTube Our Unemployment (Post-Capital) (2021). Cameron Rowland, Handpunch (2014), Handpunch (2014), Handpunch (2015), Handpunch (2015), Handpunch (2015), Handpunch (2015). Martine Syms, Mythiccbeing (2018). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Klosterfelde Edition, Berlin. Courtesy of the artist & Alexander V. Petalas Collection, London. Courtesy of the artist and private collection in Cologne. Courtesy of Essex Street/Maxwell Graham, New York. Courtesy of the artist and Sadie Coles HQ, London.

Ei Arakawa, Single’s Night (Duration: multiple times in total of 3 hours, & approx. 80 hours on preparation, Honorarium: 1,000 GBP, 0.20 GBP per minute) (2020), YouTube Our Unemployment (Post-Capital) (2021). Cameron Rowland, Handpunch (2014), Handpunch (2014), Handpunch (2015), Handpunch (2015), Handpunch (2015), Handpunch (2015). Martine Syms, Mythiccbeing (2018). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist and private collection in Cologne. Courtesy of the artist & Galerie Max Mayer, Düsseldorf. Courtesy of the artist and Sadie Coles HQ, London.

Laura Owens, Untitled (2015). Ei Arakawa, Single’s Night (Duration: multiple times in total of 3 hours, & approx. 80 hours on preparation, Honorarium: 1,000 GBP, 0.20 GBP per minute) (2020), YouTube Our Unemployment (Post-Capital) (2021). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Alexander V. Petalas Collection, London. Courtesy of the artist & Galerie Max Mayer, Düsseldorf.

Laura Owens, Untitled (2015). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Alexander V. Petalas Collection, London

Yuri Pattison, The ideal (v/0.3.2) (2015-2021). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Klosterfelde Edition, Berlin

Nora Turato, eeexactlyyy my point (2021). Nick Relph, The Girl From Everywhere (2015). Shadi Habib Allah, Dropping the 10th Digit (2018). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist; LambdaLambdaLambda, Pristina; Galerie Gregor Staiger, Zürich. Courtesy of the artist & Herald St, London. Courtesy of the artist & Reena Spaulings Fine Art, New York/Los Angeles

Nick Relph, Sally (2015), So This Is Marriage (2015), The Girl From Everywhere (2015). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Herald St, London

Cameron Rowland, Handpunch (2014), Handpunch (2014), Handpunch (2015), Handpunch (2015), Handpunch (2015). Each photograph: 14 x 10.19 inches (35.56 x 25.81 cm). In businesses where employees’ time is one of the most valuable assets, the Handpunch time clock secures this time. Manufactured by Schlage (the American lock company) the Handpunch uses biometric readings of employees’ right hands to inhibit false clock-ins and payment for false hours. Biometric recognition was developed to replace photography as a superior form of criminal indexing. Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist Essex Street/Maxwell Graham, New York

Shadi Habib Allah, Dropping the 10th Digit (2018). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Reena Spaulings Fine Art, New York/Los Angeles

Sondra Perry, IT’S IN THE GAME ’18 or Mirror Gag for Projection and Two Universal Shot Trainers with Nasal Cavity and Pelvis (2018). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Collection Mudam Luxembourg, Musée d’Art Moderne Grand Duc-Jean. Donation 2019: Allen & Overy

Guan Xiao, Kikachick is stepping towards the snow covered stage, while a faint tinge of pink reflected from the lights under the deep blue dusk is shimmering on its icy surface (2021). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Kraupa-Tuskany Zeidler, Berlin

Josephine Pryde, Pinch (2022), For Myself (2014), Clouds (2022). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Galerie Neu, Berlin

Liz Magic Laser, In Real Life, (2019), trailer for 5-channel HD video installation, 90 minutes; custom seating (dimensions variable). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Commissioned by FACT, Liverpool, UK. Courtesy of the artist & Various Small Fires, Los Angeles/Seoul/Texas

Katja Novitskova, Pattern of Activation (2014). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Boros Collection, Berlin

Simon Denny, UV printed funbug.com (1999-2001) reimagined by Cosmographia, 2022, UV printed funbug.com (1999-2001) reimagined by Guile Twardowski and Cosmographia, 2022, Dotcom Seance tutorial video (funbug.com) (2022). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Galerie Buchholz, Köln/Berlin/New York

Simon Denny, Dotcom Seance tutorial video (funbug.com) (2022). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Galerie Buchholz, Köln/Berlin/New York

Simon Denny, Document Relief 34 (funbug.com, 1999-2001, reimagined by Guile Twardowski) (2022). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Galerie Buchholz, Köln/Berlin/New York

Roger Hiorns, Untitled (2008). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Corvi-Mora, London

Hito Steyerl, Duty Free Art (2015). Installation view, Kunsthal Charlottenborg. Photo by David Stjernholm. Courtesy of the artist & Esther Schipper, Berlin; Andrew Kreps, New York

Nick Relph, So This Is Marriage, 2015. Cibachrome mounted on aluminum, 127 x 121.9 cm / 50 x 48 in, unframed HS17-NR7686F. Courtesy of the artist and Herald St, London

Oliver Laric, Hunter and Dog, 2020. Polyurethane, pigments, steel. Photo by Dirk Pauwels/Courtesy of Oliver Laric and Tanya Leighton, Berlin and Los Angeles

Liz Magic Laser, In Real Life, 2019. Film still, 5-channel video, colour, sound, UV printed fabric and polyurethane foam seating elements © Liz Magic Laser 2019/Courtesy of the artist, Various Small Fires, Los Angeles/Seoul and Wilfried Lentz, Rotterdam

Josephine Pryde, Your Secure and Private Path, 2015