The catalogue of the Belgian-American artist's architectural and video installation, at the crossroads of different disciplines, conceived by Cécile B. Evans herself.
Cécile B. Evans' 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?
Published following the eponymous exhibitions at Mumok, Vienna (2018), MADRE, Naples (2019), Museum Abteiberg, Mönchengladbach (2019) and FRAC Lorraine - 49 Nord 6 Est, Metz (2020).
In her work, Cécile B. Evans (born 1983, lives and works in Berlin and London) investigates the function of emotions in our networked society and the influence of digital technologies on human condition. Her mixed-media installations reflect the interconnection of digital and analogue ways of life as well as their interaction. Among her range of topics, the autonomy of digital images and data circulation in the internet, the relationship of user generated content and automated recording processes (bots), as well as the newest developments and technologies in the processes of artificial intelligence and the moving image are currently her recurring themes. Based on extensive research and supported by collaboratively developed programmes and visual simulations, she creates rendered agents and narrative spaces, which are, however, always transferred into a physical experience in the exhibition and thus presume concrete interactions between humans and machines.