The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualising its semiotic material.
The ambiguity of this language — with its pretence to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires — is fragmented by Jelena Vanoverbeek’s use of montage and juxtaposition.
How do these models shape public ambitions and future imaginations?
The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualizing its semiotic material. The ambiguity of this language - with its pretense to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires - is fragmented by Jelena Vanoverbeek's use of montage and juxtaposition. How do these models shape public ambitions and future imaginations?
The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualising its semiotic material.
The ambiguity of this language — with its pretence to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires — is fragmented by Jelena Vanoverbeek’s use of montage and juxtaposition.
How do these models shape public ambitions and future imaginations?
The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualising its semiotic material.
The ambiguity of this language — with its pretence to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires — is fragmented by Jelena Vanoverbeek’s use of montage and juxtaposition.
How do these models shape public ambitions and future imaginations?
The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualising its semiotic material.
The ambiguity of this language — with its pretence to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires — is fragmented by Jelena Vanoverbeek’s use of montage and juxtaposition.
How do these models shape public ambitions and future imaginations?
The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualising its semiotic material.
The ambiguity of this language — with its pretence to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires — is fragmented by Jelena Vanoverbeek’s use of montage and juxtaposition.
How do these models shape public ambitions and future imaginations?
The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualising its semiotic material.
The ambiguity of this language — with its pretence to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires — is fragmented by Jelena Vanoverbeek’s use of montage and juxtaposition.
How do these models shape public ambitions and future imaginations?
The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualising its semiotic material.
The ambiguity of this language — with its pretence to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires — is fragmented by Jelena Vanoverbeek’s use of montage and juxtaposition.
How do these models shape public ambitions and future imaginations?
The exhibition FORECAST (your morning is as good as your mattress), by the Belgian artist Jelena Vanoverbeek challenges the methods of commercial rhetoric by appropriating and re-contextualising its semiotic material.
The ambiguity of this language — with its pretence to communicate directly while simultaneously relying on a network of preconceptions, gender ideals and sexual desires — is fragmented by Jelena Vanoverbeek’s use of montage and juxtaposition.
How do these models shape public ambitions and future imaginations?