Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Visitors more accustomed to flying first class may hesitate before approaching \u201cPremium Economy\u201d, Anna Uddenberg\u2019s installation at Art Basel. In the Unlimited section for large projects, fair-goers will encounter her futuristic sculptures, but they might also find themselves being ushered around the work by performers resembling stewardesses, as if being directed through a transport security checkpoint.\u201cIt\u2019s about conformity and the willingness, maybe even the joyfulness, to get rid of one\u2019s sense of identity,\u201d Uddenberg says over coffee at Soho House in Berlin, where the Swedish artist is based.\u201cPremium Economy\u201d is the latest in a string of installations where performers interact with her furniture-like sculptures to explore how objects and places shape bodies and behaviour. Uddenberg wants to examine, for instance, the way an airport is designed to direct the flow of people in transit, and thus their behaviour, or how the white-walled setting of a gallery prompts visitors to speak in hushed tones.The artist staged something similar last year in New York when she installed crowd-control stanchions alongside her sculptures at Meredith Rosen gallery (which is presenting \u201cPremium Economy\u201d at the fair alongside Berlin\u2019s Kraupa-Tuskany Zeidler gallery). At the show\u2019s opening, spectators were shepherded across the space by women sharply dressed in tailored skirts and high heels. At certain points the performers mounted the sculptures, bending themselves into sexually suggestive positions as they inserted elbows into stirrups, backsides and legs in the air.Control and submission jostle together thrillingly in Uddenberg\u2019s art. For her first solo institutional show, at Berlin\u2019s Schinkel Pavillon, she had male performers dress up in diapers and crawl into contraptions reminiscent of baby car seats. Many critics read the work as a subversive response to commodity culture\u2019s infantilisation of adults, but the artist offers an even more sardonic explanation: \u201cIt was ultimately about the uselessness of people in general, and I guess the ultimate example of that would be an adult baby.\u201dUddenberg is trendily dressed and wearing big sunglasses; her cool exterior matches the dry humour she frequently displays during our conversation. When we meet she has just closed a show at Kunsthalle Mannheim, which awarded her a prize in 2022. As well as major institutions, her work can be found in private collections, Balenciaga campaigns and permanently installed at Berlin\u2019s Berghain nightclub \u2014 a reflection not just of her star status in the capital\u2019s art scene, but also of an art practice that defies easy categorisation.Born in Stockholm in 1982, Uddenberg studied at the city\u2019s Royal Institute of Art and Frankfurt\u2019s St\u00e4delschule before coming to prominence in the late 2010s with her striking sculptures of hyper-flexible feminine figures. Probing the tangled lines between gender, sexuality, social media and fashion, these talented contortionists held a mirror \u2014 or often a selfie stick \u2014 to our consumerist, screen-addicted lives.Recently the artist has shifted focus to scrutinise the unspoken social codes of everyday spaces. She evokes the sterile settings of airports, hotels and medical centres to highlight, in her words, \u201cthe invisible boundaries in a social setting that dictate people\u2019s behaviour\u201d.The way that we present ourselves in public is an important theme in Uddenberg\u2019s art, something she traces back to her fascination with performative identities on social media and reality TV. \u201cI\u2019m interested in the tension between an obviously artificial environment in which the characters are enacting what they are expected to do and that idea of the authentic self, this obsession with \u2018being you\u2019 which is now also what social media is all about.\u201dIf these latest installations can be interpreted as metaphors for this public performance of identity, then Uddenberg\u2019s sculptures could be seen as props or, as the artist describes them, \u201csculptural scripts\u201d that direct the body in the same way we must navigate social norms. Made using 3D printing and digital tools, they resemble hellish dentist chairs or aeroplane seats, amalgamations of industrial design which evoke the clinical veneer of everyday spaces. Their utilitarian aesthetic calls on us to recognise them as functional objects. Yet exactly what their function is remains unclear.Her interest in the artifice of object design \u2014 \u201ca running shoe\u2009.\u2009.\u2009.\u2009pretends to look fast\u201d \u2014 can be magnified to extreme levels, pointing out the intentions behind the apparent neutrality of our built environment. Her sculptures enact \u201ca sort of entrapment\u2009.\u2009.\u2009.\u2009like safety equipment that is pampering the body but also locking it in\u201d, which invites us to think about the control that we willingly relinquish not just in public spaces but also to products \u2014 especially relevant as AI programs and \u201cuser-friendly\u201d technologies create automated surroundings.These threads of power, artifice and social etiquette will become more pronounced within the transient, impersonal setting of an art fair, which the artist describes as an \u201cartificial bubble\u2009.\u2009.\u2009.\u2009reminiscent of an airport\u201d. Let\u2019s just hope Uddenberg hasn\u2019t recreated an airport\u2019s queues too.June 13-16, artbasel.com<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Visitors more accustomed to flying first class may hesitate before approaching \u201cPremium Economy\u201d, Anna Uddenberg\u2019s installation at Art Basel. In the Unlimited section for large projects,<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-111073","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/111073","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=111073"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/111073\/revisions"}],"predecessor-version":[{"id":111074,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/111073\/revisions\/111074"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=111073"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=111073"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=111073"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}