Profile — 23 Nov 2018
Infection Drivers investigates how images could come to act autonomously as they become dislocated from their intended use. In the work, Cooper also speculates about how capitalist forms of image production could be appropriated and deployed as weapons against exploitative labor. Cooper does this by asking whether these digital bodies could perform in our place, and allow us to refuse to engage in certain abstract forms of labor. She is particularly interested in the body’s “sanctuary sites”—vulnerable areas such as the central nervous system where drugs cannot easily penetrate. By destabilizing the notion that a “natural” body stands in contrast to “man-made” media, Infection Drivers raises the question of whether digital technologies could create their own sanctuary sites, which could potentially incubate and give rise to new forms of anti-capitalist logic. Ultimately, Cooper invites us to consider whether “bodies” produced by emerging technologies might contain new forms of political potential and self-care.
About the artist
Kate Cooper (1984, United Kingdom) was recently in residence at the Rijksakademie van Beeldende Kunsten in Amsterdam, and at the Saari Residence in Hietamäki, Finland. Her work has been shown at venues including the KW Institute for Contemporary Art, Berlin; Institute of Contemporary Art, Boston; Tate Modern, London; Sonic Acts, Amsterdam; Public Art Fund, New York; International Center of Photography, New York; Serralves Museum, Porto; Frankfurter Kunstverein, Frankfurt; Palais de Tokyo, Paris; Whitechapel Gallery, London; Museum of Modern Art, Warsaw; and has been featured at the Riga Photography Biennial and the International Documentary Film Festival Amsterdam.