LUXEMBOURG.- I’m Terribly Sorry is a virtual reality video set in a dystopian British urban landscape filled with oversized Union Jack-emblazoned tourist merchandise. Several privileged city dwellers approach the user, each of whom has a large smartphone for a head. Initially benign and apologetic, they tell convoluted stories and attempt to elicit money, with their protestations soon becoming more sinister, finally leading to a bloody tragedy... or not.

Apology or criticism of the gratuitous violence of video games? The artist’s deadpan cynicism towards Brexit? The interpretations will not fail to sprout.

Curator: Kevin Muhlen

I’m Terribly Sorry, 2018 / Produced in collaboration with Werkflow / Commissioned by Zabludowiz collection in partnership with Arsenal Contemporary. Exhibition realised with the support of VIVE.

Ben Wheele —
Deep | Dark | Dank
Alongside of the exhibition I’m Terribly Sorry, Rachel Maclean invites the artist Ben Wheele for a presentation of Deep | Dark | Dank.

Deep | Dark | Dank is an immersive installation by artist Ben Wheele. Using a range of digital animation techniques, Wheele constructs a fantastical world of sinister creatures, dark humour and grotesque body horror. His work is often found lurking in the ‘dark side of Youtube’, a little-known zone of mysterious videos, which generate all sorts of conspiracy theories and terrified reaction videos online.

Alongside his previous films, the installation features his latest project Top 5 Animation Containers. The work mimics the format of a Youtube ‘countdown’ video to explore how viral memes evolve. In particular, Creepypasta stories (online horror stories spread through ‘copy and paste’) and Dank Memes (exceptionally odd / unique memes).

Curator: Rachel Maclean

Sophie Jung —
Sincerity Condition.
Working across text, sculpture and performance, Sophie Jung’s work navigates the politics of re/presentation and challenges the reductive desire to conclude. Her texts focus on disrupting scripted hegemonies through subversively introduced tremors. She employs humour, shame, the absurd, raw anger, rhythm and rhyme, slapstick, hardship, friendship and a constant stream of slippages. Her sculptural work consists of bodies made up of both found and haphazardly produced attributes and defines itself against the dogma of an Original Idea or a Universal Significance. Instead it stands as a network of abiding incompletion, an ever-changing choir of urgencies and pleasures, traumas and manifestations that communally relay between dominant and minor themes.

Sophie Jung is invested in triggering a de-categorising of concepts and a deconceptualisation of categories and understands her approach to “stuff” – both legible utensil and metaphoric apparition – as an uncertain queering slash querying of historical materialism.

Curator: Stilbé Schroeder