Exhibition | Molly Soda: 'From My Bedroom To Yours' | at | London | Art Week

Molly Soda: 'From My Bedroom To Yours'

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Date: 
Wednesday, 25 November 2015 to Saturday, 16 January 2016
Opening: 
Tuesday, 24 November 2015 -
6:00pm to 8:00pm

Annka Kultys Gallery is pleased to present From My Bedroom to YoursMolly Soda’s first solo exhibition outside her native United States. The show features twenty recent works by the Detroit-based digital artist realised across a variety of digital platforms, including videos, gifs and NewHive.

Born in 1989 and currently 26, Soda explains her work is about girls and for girls in their bedrooms, and takes the private behaviours inherent to those spaces and makes them public, reflecting how that process changes the way in which those behaviours are seen and contextualised.  As a result, her images are raw, rejecting conventional beauty norms, whilst still maintaining a tween-Tumblr aesthetic and employing kitsch elements and lowbrow internet culture.

Soda belongs to a generation of young video and internet based women artists, including the likes of 22-year old Canadian photographer Petra Collins (b.1992-) and the San Franciso Bay-area based Vivian Fu (b.1990-); the latter’s photography focusing on the intimacy of her personal relationships and challenging representations of Asian women. Yet Soda’s work also resonates with that of an earlier generation of women artists, and in particular Tracey Emin (b.1963-) and her infamous Turner Prize nominated My Bed (1998), an installation piece comprising an unmade double bed and related detritus (empty vodka bottles, cigarette ends, condoms, stuffed toy, etc) Emin had purportedly occupied for several days following a bout of depression; which echoes Soda’s own bedroom / workspace / site-of-production. Beyond the common superficialities of the two spaces, both artists’ work draws heavily upon autobiographical elements, contradicting society’s expectations of women’s art and women artists, through the communication of their most intimate experiences.

Each piece in the show records the artist undertaking one or more of a diverse range of activities from her home, such as singing, dancing, telling stories or expressing her emotions (melancholy, frustration, joy, etc), for example. Each activity takes place directly in front of her camera creating a powerful intimacy with the viewer. An emotional connection with her viewers is created through the artist’s shared feelings of loneliness, silliness, love, lust and boredom as she puts herself on display and makes her private, public: from her bedroom to yours.

As Soda’s entire oeuvre is available on-line, her art is freely accessible not only to her hundreds of thousand of followers on apps such as Instagram or Tumblr but also literally to anyone with internet access. Visitors to the gallery will therefore be able to augment their experience of the artist’s works on the ipads and television monitors provided in the gallery by using their own smartphones and portable devices to access the social platforms (Tumblr, NewHive, YouTube, etc) where Soda’s works were originally posted.

To foster an ambience akin to the artist’s own bedroom in Detroit, the normal white cube aesthetic of the gallery space has been transformed: its walls have been painted a pink similar to that of Soda’s bedroom and its space decorated with pink-hued furniture pieces which have the dual function of both providing gallery visitors with a physically comfortable environment in which to view the work, while also replicating the ‘girly-pink-warm’ atmosphere associated with the artist’s work.

The gallery is also breaking with tradition with regard to the pricing of the works for sale in the exhibition. Historically, the price of a work of art on the primary market has been a function, amongst other factors, of the size of the work. The gallery’s pricing methodology for Soda’s digital art, by contrast, adopts public interest as its starting point: the more a work has been viewed online, the greater that work’s price. So the price of each work in the show is directly related to the number of digital views of the particular work.

A catalogue containing images of works in the show, installation views and three original essays on the artist is being published by the gallery to coincide with the exhibition.

 

Above: Installation View, Molly Soda From my Bedroom to Yours at Annka Kultys Gallery, London, 2015. Photo: Lewis Ronald

Artist ( Description ): 

 

The first encounter with the web-cam performance artist Molly Soda’s work will probably not occur in a traditional gallery or museum setting, and may not even occur within a typical art context at all. Instead Soda has generated a significant online following, sharing her web-based performances across social media platforms including Facebook, Tumblr and Twitter. Through opening up and expressing her vulnerability online, via the private space of her bedroom, Soda explores the technological mediation of self-identity, contemporary feminism, culture and perversion.

Soda was born Amalia Soto in 1989 in San Juan, Puerto Rico and currently lives and works in New York. She received her B.F.A in Photography and Imaging from Tish School of Art, New York University in 2011. Soda gained repute through participating in Paddles On!, the first ever digital art auction and gallery show held at Phillips auction house, New York, in 2013. There, she sold her piece Inbox Full (2013), an eight-hour webcam video of Soda reading all of the messages in her Tumblr inbox.

Since 2015 her work has been represented by Annka Kultys Gallery. The artist has had two gallery solo exhibitions, including Comfort Zone and From My Bedroom to Yours in 2015 which was her first ever presentation and was accompanied by a fully illustrated catalogue with three original essays.

Previous solo shows at the gallery include From My Bedroom to Yours and Comfort Zone. She has participated in several group shows internationally, including Net [ ] Work: 24 hours of Contemporary Video Art, Los Angles, Your Digital Self Hates You, Stadt Bern (2016) in Bern, Switzerland; Doubly So in Detroit; The Wrong Digital Art Biennale(2015) in Seoul; Like 2 B Liked in Kopenhagen, Denmark.  She remains active on Tumblr and Twitter, and regularly publishes on NewHive.

 

Telephone: 
+44 20 3302 6070
Venue ( Address ): 

472 Hackney Road | Unit 3, 1st Floor | London E2 9EQ

Tube | Bethnal Green | 

Viewing Hours | Wed – Sat | 12 – 6 pm | or by appointment during office hours

Office Hours | Mon-Sat | 11 am – 6 pm

ANNKA KULTYS is located in East London on the 1st floor above the Maury Sewing Machine Company.

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