Everything, Everywhere, All the Time
In her solo exhibition at ΕΜΣΤ, Hannah Toticki adopts a critical eye and an often humorous approach to examine aspects of the “burnout society”, women’s invisible work, our relationship with technology, work life as a potential secular religion and more generally, the state of work in late-stage capitalism and in a society striving for constant productivity, acceleration and growth. 24/7 markets, new information technologies, a global infrastructure for continuous work and the possibility for around-the-clock consumption steadily hinder distinctions between night and day, action and response, public and private as well as work and leisure time. Everything, Everywhere, All the Time highlights the absurdities of contemporary life and explores the repercussions that the demand for constant growth has on natural resources, our ecosystem but also our own bodies.
Hannah Toticki has developed a highly distinctive and personal visual language that is inspired by fashion, pop culture, design and theatre. Her sculptures and installations often relate directly to the human body, taking the form of clothing, accessories or furniture, and are often combined with performance, video and music.
The exhibition Everything, Everywhere, All the Time consists of 80 works from different cycles of the artist’s creative process. They are divided into four sections entitled Production, Sleep, Control and Attention that provide a conceptual framework and make visible the connections between the various themes that have informed her art over the years. Toticki’s solo exhibition at ΕΜΣΤ is the first presentation of her work in Greece and the artist’s first major museum exhibition in Europe.
Hannah Toticki was born 1984 in Borup, Denmark. She lives and works in Hvalsø, Denmark.
The exhibition is accompanied by a full colour digital catalogue.
Toticki is also featured in the exhibition Modern Love (or Love in the Age of Cold Intimacies).
Curated by Ioli Tzanetaki
ARTIST'S BIOGRAPHY
Hannah Toticki has developed a highly distinct and personal visual language, which takes inspiration from fashion, design and theater. Her sculptures and installations often relate directly to the human body, taking shape as furniture, accessories or garments. Invested in potentially dry topics such as working life, economy, debt and agricultural policy, Toticki uses humor and distinct visual expressions to reach out, create conversations and reflections, often combining her physical works with performances and lectures. She lives and works in Denmark.
Selected solo exhibitions, commisions and performances include:
Universal Human Resource, MOCAD Museum of Contemporary Art, Detroit and Work After Work, Galerie Wedding Municipal Art Gallery, Berlin, DE (2021), Shapeshifters, Malmø Kunstmuseum (2020), The Land of Milk and Honey, KW Berlin (2019) Slower and Cheaper and Sacred Work, Overgaden Institute of Contemporary Art, Copenhagen (2018 and 2017).
Selected group exhibitions include: Modern Love (or Love in the Age of Cold Intimacies) at EMΣΤ | National Museum of Contemporary Art, Athens (2023), Kunstihoone Tallinn Art Hall (2021), Museum für Neue Kunst, Freiburg, DE (2020). RIBOCA1 -1st Riga International Biennial of Contemporary Art (2018) European Graduates Art Prize, Arti et Amicitiae, Amsterdam (2017), Start Point Prize, Prague National Gallery, Take Me, I’m Yours and Degree Show, Kunsthal Charlottenborg (2016), Agitation de la Prostate Féminine, Saint-Valentin Espace d’Arts, Lausanne (2015).
Selected prizes
2022 Danish Art Foundation, 3- year work grant
2021 Aage and Yelva Nimbs Foundation
2019 Astrid Noacks Sculptor Award and Niels Wessel Bagges Art Foundation Award
2018 The Carl Nielsen and Anne Marie Carl-Nielsen Foundati- on Talent Prize
2016 StartPoint Prize for European Art Academy Graduates
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