Every day, we follow countless algorithmic impulses: by quickly scrolling through feeds, gently zooming in on images or nervously typing messages. We enter into a relationship with algorithms via the screen surface. Where does the body begin and where does it end when it encounters the physically impenetrable surfaces of our smartphones - whose complex inner life has long since become a part of ourselves through our sometimes most intimate traces?

For the artist Linda Semadeni, new technologies such as smartphones represent a structure of movement and the expression of inner and outer emotional states. They are a place that goes beyond its human-defined functionalities and with which we find ourselves in a constant, reciprocal performance day after day. By playing with movement, Semadeni explores how the body is involved in it.

In her interactive sculpture Screen recordings (2024), which is being presented as an intervention at Löwenbräukunst from November 9, 2024, to April 13, 2025, Linda Semadeni turns our familiar perception of size and scale on its head: the oversized screen faces the viewer and confronts them with the question of their relationship with everyday technologies. This reversal traces the omnipresent reality that surrounds and influences us: the symbiosis between body and technology, the blurred line between digital and analogue space and the associated new forms of expression and movements of the body that are transformed by and with these technologies.

An associative combination of moving symbols on an animated projection surface; a warm pink color on the glass facade that envelops the room; a fragmented sound collage from the digital sphere - and in the middle of it all, the people who move around in this building: hectically on their way to the next meeting every day in one of the hidden offices or wandering inspired from exhibition to exhibition. Suddenly, they are torn out of their inscribed and learnt routine because something in their environment has fundamentally changed.

Semadeni's minimalist choreography, which will be expanded over the course of the exhibition, explores the new performative body-space relationship between people and screens: Viewers are placed in a concentrated immersion as they walk through it. They find themselves in the midst of an incidental, unconsciously perceptible and yet omnipresent linguistic backdrop: consisting of ready-made image, word and sound constellations. On the surface, these originate from smartphones and apps, but through Linda Semadeni's artistic re-appropriation they have been transformed into a multi-layered system of signs from the micro-level of our personal devices into an expansive experience.

Semadeni also reflects on the fact that this place as such is already a place of movement: ‘I come in, I go out, I'm on my way - it's a place of passage. In this non-place, the installation suddenly creates a physical sensation’. She wants to create a feeling of involvement in visitors that playfully encourages them to consciously experience and perceive the complex entanglements of body, space and technology in the here and now.

Linda Semadeni (b. 1985, Bern, Switzerland) lives and works in Zurich. She received a BFA from the Zurich University of the Arts (ZHdK) in 2015 and studied Performative Sculpture at the Academy of Fine Arts Vienna in 2014/15. Using media such as drawing, painting, sculpture, video and performance, Linda Semadeni explores what moves us and sets us in motion. In 2023, she was awarded the Manor Art Prize of the Canton of Graubünden. The exhibition at the Bündner Kunstmuseum Chur was accompanied by the publication a feeling, a feeling, a feeling, a feeling. Her work has been shown in institutional exhibitions at the Halle für Kunst Lüneburg (2022), Centre d'Art Contemporain Genève (2022) and Kunsthalle Zürich (2020). In spring 2025, her work will be part of a group exhibition at the Bonner Kunstverein.

(Curated by Tasnim Baghdadi)