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Oli Sorenson
Delivery / Livraison
2021

About the Item

Building on a series of exhibitions titled Panorama of the Anthropocene which examined the ecological impact of human activity through an array of paintings, digital prints and videos, Oli Sorenson’s Capitalocene? turns to the economic system that underlies this era. Where Anthropocene names a geological epoch defined by human activity, Capitalocene disputes the former term’s homogenization of humanity within a single category, refuting its equal attribution of responsibility for the impacts of an economic system predicated on unequal distribution of power. Capitalocene? ponders instead on a much smaller subset of humanity: the so-called 1%, whose choices and lifestyles drive anthropogenic climate change and who are nonetheless largely sheltered from its impacts. Avoiding didacticism in favour of critical engagement, Sorenson’s framing of the term as a question invites viewers to reflect on responsibility and complicity for themselves, and to find answers in their own terms. A digital Pop aesthetic permeates the exhibition, which features works on paper and canvas, video, and online NFTs. Neon-toned graphics evoke informational and material excess in the form of abstracted cargo ships on waterways and repeating icons of automobiles, fuel containers, shopping bags, and vaccine vials. Collectively, these images suggest the immensity of global supply chains by referencing processes of mass production, transportation, distribution, consumption, and disposal. Sorenson creatively borrows from Pop and Neo-Geometric Conceptualism, making tactical use of repetition and geometric abstraction to describe the monumental scale and impact of human economic activity under capitalism. Relentlessly bright tones echo the advertising screens of consumerist visual culture: the desire to catch and hold the eye, the failed promise of infinite material prosperity.. What at first appears as a contradiction – the inclusion of NFTs (Non-Fungible Tokens) in an ecocritical exhibition – serves to open up another realm for consideration: the art world’s complicity in global capital. Conscious of the massive energy footprint of conventional NFTs, Sorenson opts to use cleanNFTs which consume an infinite fraction of energy, in comparison to those based on dominant crypto-currencies. This deliberate gesture underscores that viable alternatives are available today, in NFTs as in other economic sectors. Yet as these approaches involve less money per transaction and fewer intermediaries, Sorenson notes, ecological solutions are sidelined in the interest of profit. Capitalocene? does not explicitly name a culprit of climate change. The exhibition does, however, convincingly illustrate how the dominant economic system of capitalism prescribes an array of human activities whose ubiquity and sustained repetition, carried out in plain sight and sanctioned by those in power, shapes life on a planetary scale to dire ends.

Creator:

Oli Sorenson

Creation Year:

2021

Dimensions:

Height: 57 in (144.78 cm)Width: 83 in (210.82 cm)

Medium:

Acrylic,Wood Panel,Varnish

Movement & Style:

Contemporary

Period:

2010-

Condition:

Gallery Location:

Montreal, CA

Reference Number:

Materials

Canvas, Acrylic, Wood Panel

Oli Sorenson
Shopping, 2021

$4,500

Devouring the Future

By Adam Gunn

Located in Montreal, Quebec

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice caps and slowed down the circulation of the oceans so that they have become like a gigantic stagnant pond. This still oxygen depleted water will allow the proliferation of anoxygenic bacteria that will change the chemistry of the ocean making it poisonous to oxygen dependant life. These bacteria will also release hydrogen sulfide into the atmosphere causing a mass extinction of animal and plant life on land. This stark yet colourful world will be sublimely beautiful, but there will be no one around to see it. This series of paintings depicts an imagining of our world after the catastrophic consequences of climate change through a reinterpretation of well-known images with a romantic sensibility towards nature. Romanticism was in part a reaction to the industrial revolution marked by a nostalgia for an untouched natural world and a reverence for its overwhelming power. Ironically the spread and continuation of that industrialism is predicted to set in motion a new version of nature that will completely overpower the human world as we know it. With these thoughts in mind, I’ve sourced some paintings associated with the romantic movement and removed the human figures from them – the only evidence of people are the decaying ruins left behind in this uncanny green and purple landscape. I’ve also referenced some photographs from the Apollo moon missions that are thought to have influenced the beginning of modern environmental awareness. The starting point for this series of paintings was Arnold Böcklin’s Isle of the Dead...

Category

2010s Contemporary Figurative Paintings

Materials

Acrylic, Wood Panel

Adam Gunn
Devouring the Future, 2019

$2,400

Garden of Earthly Remains

By Adam Gunn

Located in Montreal, Quebec

In his book Now or Never naturalist Tim Flannery describes a vision of a world with a dead purple ocean and a poisonous green sky. This is a world where warming has melted the ice ca...

Category

2010s Contemporary Figurative Paintings

Materials

Acrylic, Wood Panel

A portrait of Pinocchio from Pinocchio, Disney, 1940 Are there any more recognizable stories about the difficulties that can accompany lying than that of Pinocchio? For the puppet-...

Category