W. H. Auden’s haunting words “…when Diesel / conceived his grim engine that / begot you, vile invention, / more vicious, more criminal / than the camera even, / metallic monstrosity, / bale and bane of our Culture…” could serve as an epigraph for Italian sculptor’s Guilia Cenci’s body of work. Her works resembling stretched skeletal limbs – corpse-elements of failed technological hybridizations – lie dismembered in the basement of the building. In dialogue with the entrails of the Kraftwerk, Cenci assembles an uncanny necropolis of fossil fuel-dependent societies.


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