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Grey carpet, cold neon lights, standardised furniture. A faint smell of bland coffee hanging in the air conditioning. Windows cascading on screens. Chained to email loops. Bodies barely moving. Gestures repeated. Repressed desires. You lose track of how long you’ve been here. Welcome to the open plan.
Its aesthetic haunts a whole strand of contemporary creation. From The Office to Severance, from Playtime to Brazil, from catwalks to video clips, office design becomes the set of a collective performance orchestrated by an invisible machinery. It is also a terrain of analysis that fascinates critical thought: David Graeber interrogates the proliferation of meaningless jobs[1]; Byung-Chul Han describes an era consumed by burnout, where individuals become their own oppressors[2]; Silvia Federici situates the invisibilisation of care work within broader mechanisms of exploitation[3]; Federico Campagna reads Work as a G…
Exhibition Space
Press Release
Grey carpet, cold neon lights, standardised furniture. A faint smell of bland coffee hanging in the air conditioning. Windows cascading on screens. Chained to email loops. Bodies barely moving. Gestures repeated. Repressed desires. You lose track of how long you’ve been here. Welcome to the open plan.
Its aesthetic haunts a whole strand of contemporary creation. From The Office to Severance, from Playtime to Brazil, from catwalks to video clips, office design becomes the set of a collective performance orchestrated by an invisible machinery. It is also a terrain of analysis that fascinates critical thought: David Graeber interrogates the proliferation of meaningless jobs[1]; Byung-Chul Han describes an era consumed by burnout, where individuals become their own oppressors[2]; Silvia Federici situates the invisibilisation of care work within broader mechanisms of exploitation[3]; Federico Campagna reads Work as a G…
