Torben Wessel’s art deals with the channeling of sensory information. He takes up web phenomena dedicated to the production of sensory stimuli and considers the shift from information to emotion in digital space as well as the associated cognitive and receptive changes. By reflecting on the effects of commodification, Wessel shows that economics is no longer just one part of society but has long since pervaded all social action.
Ramaya Tegegne’s work addresses the processes by which the field of art is constituted. It focuses on those artistic practices which, from the 1960s on, began to make visible art’s social, economic and cultural determination, in this way problematizing dominant mechanisms within the field. Tegegne frames this issue through an examination of the social preconditions of art’s production, presentation and reception under present conditions. When she cites and appropriates historical artistic material, transposing it into a broader context, she does so in order to open up access to existing material, and in this way to open it up to experience.