In the Lower Gallery, Scottish artist
is paired with New Yorker
. Though well-known for her satirical critiques of consumer culture, Keil here takes a low-key approach to identity in the post-internet age. Leg1
(2015) depicts a busty Amy Winehouse tattoo on an anonymous limb; another piece, Untitled
(2015), peers into a banal and cliched Instagram feed—Skyscraper shots, restaurants, domestic scenes. It’s the perfect complement to the archetypal metropolitan women that Uoo’s sculptures subvert (part of a larger series called “No Sex, No City”). This a post-apocalyptic interpretation of the cyborg, riffing on Crespo’s nearby work: these mannequin figures are a mix of organic and mechanical, and overtly a critique of modern ethical decay. One is adorned with a hippy peace necklace, another with a heart tattoo on the hip. But most pleasing of all is Uoo’s carpet, mimicking a Cosmo Girl
magazine cover from 2008, which parodies its clichéd vacuity, including inane headlines such as “Mary G, 12, from Rohnert Park California made a fake Facebook to stalk an Ex’s new girl.”
“Looks” is a playful and powerful consideration of mass digital culture and how it impacts the ways in which new strands of identity are negotiated. It’s a provocative compendium of work, looking forward to the ever-closer post-human world, but at the same time, only conjecture, a broad brushstroke of what lies ahead.