Cécile B. Evans
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Cécile B. Evans
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Cécile B. Evans’ practice offers stirring accounts of the governance and rebellion of human emotions and behaviors, in particular as they come into contact with the ideological, physical, and technological structures that aspire to contain them.
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Ad Hoc Order (The ruins of your shattered promises were salvaged and stockpiled in the cellar of the progressive framework that was meant to fix you. A holiday will be established to commemorate their conversion into coffee mugs.)
2024
Acrylic, laser cut acrylic, plywood, poplar wood with dye stain, steel rod, foamboard, foam, acrylic paint, enamel paint, 3D printed nylon, ABS, PLA, and acrylic resin, concrete, stone, marble, dirt, archival ink, found objects
49.7 x 36.5 x 49.6 in / 126.2 x 92.6 x 126.1 cm
Ad Hoc Order (Slabs were stolen from the marbled lobbies of your hollow commitments and filed in the crawl space below the vision that was dreams meant to save you. The leftovers will be revived as fuel for grocery runs.)
2024
Acrylic, laser cut acrylic, plywood, poplar wood with dye stain, steel rod, foamboard, foam, acrylic paint, enamel paint, 3D printed nylon, ABS, PLA, and acrylic resin, concrete, stone, marble, dirt, archival ink, found objects
49.7 x 39.4 x 47.9 in / 126.4 x 100 x 121.6 cm
Ad Hoc Order (Your collapse was witnessed, your destruction cataloged and banked at the wreckage of the hope meant to heal you. Every fibre will be used to knit a duvet.)
2024
Acrylic, laser cut acrylic, plywood, poplar wood with dye stain, steel rod, foamboard, foam, acrylic paint, enamel paint, 3D printed nylon, ABS, PLA, and acrylic resin, concrete, stone, marble, dirt, archival ink, found objects
49.7 x 39.7 x 40.4 in / 126.2 x 100.9 x 102.6 cm
Ad Hoc Order (Your failure was recorded, your chaos archived under the debris of the promise that was meant to restore you. The dust will be reconstituted to make shelves.)
2024
Acrylic, laser cut acrylic, plywood, poplar wood with dye stain, steel rod, foamboard, foam, acrylic paint, enamel paint, 3D printed nylon, ABS, PLA, and acrylic resin, concrete, stone, marble, dirt, archival ink, found objects
49.7 x 36.6 x 37.1 in / 126.2 x 92.9 x 94.3 cm
Ad Hoc Order (Your unravelling was testified to, your mess hoarded and stashed in the space below the vision that was supposed to redeem you. Every scrap will be melted down to make candles.)
2024
Acrylic, laser cut acrylic, plywood, poplar wood with dye stain, steel rod, foamboard, foam, acrylic paint, enamel paint, 3D printed nylon, ABS, PLA, and acrylic resin, concrete, stone, marble, dirt, archival ink, found objects
49.7 x 28 x 32 in / 126.2 x 71.2 x 81.4 cm
MEMORY!
2024
Production still
MEMORY!
2024
Production still
MEMORY!
2024
Production still
RECEPTION!
2024
HD video, sound
1 min 26 sec
RECEPTION!
2024
HD video, sound
1 min 26 sec
Reality or Not
2023
Museo d'Arte Moderna di Bologna
Installation view
Reality or Not
2023
HD video, sound
34 min 53 sec
Reality or Not
2023
Museo d'Arte Moderna di Bologna
Installation view
BOADICEA AND HER DAUGHTERS
2022
Eco-Solvent ink on transparent polyester film layers, inkjet prints, dye sublimation prints, UV tape, Blockx watercolour paint, rough press paper, pen, chrome paint, Contrcollé Ingres Vidalon vergé
Framed dimensions: 31.2 x 47.7 x 1 in / 79.2 x 121.5 x 2.5 cm
BOADICEA AND HER DAUGHTERS
2022
Detail
BOADICEA AND HER DAUGHTERS
2022
Detail
Future adaptations (an understudy for Giselle)
2022
Installation view
'Post Nature'
Ulsan Museum of Art, Ulsan
Future adaptations (an understudy for Giselle)
2022
Installation view
'Post Nature'
Ulsan Museum of Art, Ulsan
Notations for an Adaptation of Giselle (welcome to whatever forever)
1:12 scale production model with foliage, Raspberry Pi players, LCD monitors
15.75 x 10.51 x 4.09 in / 40 x 26.7 x 10.4 cm
For a Future Adaptation of Giselle (Willis’ battle of whatever forever)
2021
Installation view
'Liquid Life'
Kistefos Museum, Norway
A Screen Test for an Adaptation of Giselle
2019
FIAC at m2k Grand Palais Cinema, Paris
Installation view
Photograph by Yuri Pattson
A Screen Test for an Adaptation of Giselle
2019
HD Video, sound
8 min 50 sec
Supported by La Maison Balmain Paris, Galerie Emanuel Layr and Forma
A Screen Test for an Adaptation of Giselle
2019
Video still
A Screen Test for an Adaptation of Giselle
2019
Video still
A Screen Test for an Adaptation of Giselle
2019
Video still
Amos’ World
2018
Tramway, Glasgow
Installation view
Photograph by Keith Hunter
Amos’ World is a co-production between Galerie Emanuel Layr, mumok, Tramway, and Museum Abteiberg
I had a dream I was sleeping (Gloria’s window)
2018
Life sized model, printed canvas, Duratrans print, LCD screen, acrylic
(wall mounted or suspended)
88.3 x 78.7 x 6.4 in / 224.5 x 200 x 16.5 cm
Photograph by Keith Hunter
Erratics (Glasgow)
2018
Concrete, epoxy resin, tattoo ink, wax polymer
19 x 15.7 x 23.6 in (each) / 50 x 40 x 60 cm (each)
Photograph by Keith Hunter
Amos’ World
2019
FRAC Lorraine, Metz
Installation view
Photograph by Fred Dott
Amos’ World
2019
FRAC Lorraine, Metz
Installation view
Photograph by Fred Dott
Amos’ World
2019
FRAC Lorraine, Metz
Installation view
Photograph by Fred Dott
Amos’ World, Episode One
2017
HD video, sound and color
24 min 58 sec
Produced with Emanuel Layr Galerie, Vienna
Amos’ World, Episode One
2017
Video still
Amos’ World, Episode One
2017
Video still
Amos’ World, Episode One
2017
Video still
Amos’ World, Episode One
2017
Video still
Amos’ World: Episode Two
2018
HD Video
24 min 33 sec
Producer Cécile B. Evans
Co-Producers Emanuel Layr Galerie, Vienna
mumok, Vienna
Museum Abteiberg, Mönchengladbach
Tramway, Glasgow
Additional Support De Young Museum, San Francisco
FRAC Lorraine, Metz
Villa Merkel, Esslingen
Special thanks Chateau Shatto, Los Angeles
Glasgow International, Glasgow
Renaissance Society, Chicago
Amos’ World, Episode Two
2018
Video still
Amos’ World, Episode Two
2018
Video still
Amos’ World, Episode Two
2018
Video still
Amos’ World, Episode Two
2018
Video still
Amos’ World, Episode Two
2018
Video still
Amos’ World, Episode Two
2019
Concrete, wood, steel, cushions, headphone
Museum Abteiberg, Mönchengladbach
Video installation
Photograph by Achim Kukulies
Amos’ World: Episode Three
2018
HD Video
24 min 20 sec
Producer Cécile B. Evans
Co-Producers Emanuel Layr Galerie, Vienna
mumok, Vienna
Museum Abteiberg, Mönchengladbach
Tramway, Glasgow
Supported by Art Night, London
Additional Support De Young Museum, San Francisco
FRAC Lorraine, Metz
Madre Museum, Naples
Nicoletta Fiorucci; Founder, Fiorucci Art Trust
Villa Merkel, Esslingen
Special thanks Chateau Shatto, Los Angeles
Glasgow International, Glasgow
Renaissance Society, Chicago
Amos’ World, Episode Three
2018
Video still
Amos’ World, Episode Three
2018
Video still
Amos’ World, Episode Three
2018
Video still
Amos’ World, Episode Three
2018
Video still
Amos’ World, Episode Three
2019
Stage set made of wood and blue paint
Museum Abteiberg, Mönchengladbach
Video installation
Photograph by Achim Kukulies
Amos’ World is Live
2018
Amos’ World: Episode Three taped in front of a live studio audience
Spectrecom Studios, London's Art Night
Supported by Galerie Emanuel Layr, Rome/Vienna
Backdrops produced with support from Genesis Imaging
Bespoke seating provided by Mahogany Opera
Further thanks to Aurora Multimedia and Sam Higham at Movietech
Something tactical is coming.
2018
Château Shatto, Los Angeles
Installation view
Photograph by Elon Schoenholz
Something tactical is coming.
2018
Scale model production model with chroma key paint, Makibes screens, Raspberry Pi players, Real Game FX miniature fog machine, 3D prints, paper, wood, puppet hand,
3D printed mask dummy
Approximately 210 x 105 x 100 cm / 82.7 x 41.3 x 39.4 in
Photograph by Elon Schoenholz
Something tactical is coming.
2018
Château Shatto, Los Angeles
Installation view
Photograph by Elon Schoenholz
Forgiveness isn’t always the best thing to ask for (Character Study)
2019
Anodized metal server case, uv print on acrylic, inkjet print, electrical tape, packing gauze
18.9 x 17.32 x 3.54 in / 48 x 44 x 9 cm
Photograph by Elon Schoenholz
Something tactical is coming.
2018
Château Shatto, Los Angeles
Installation view
Photograph by Elon Schoenholz
We even age honestly (Character Study)
2019
Anodized metal server case, uv print on acrylic, inkjet print, electrical tape, packing gauze
18.9 x 17.32 x 3.54 in / 48 x 44 x 9 cm
Photograph by Elon Schoenholz
Unthought Environments
2018
Renaissance Society, Chicago
Installation view
Photograph by Useful Art Services
A man in progress
2017
3D printed resin, hand painted
47.2 39.3 x 4 in / 120 x 100 x 10 cm
Photograph by Klaus Pichler
999 Years, 13sqm (The Future Belongs to Ghosts)
2019
Cécile B. Evans and Rachel Armstrong
Whitechapel Gallery, London
Installation view
Courtesy of Whitechapel Gallery
999 Years, 13sqm (The Future Belongs to Ghosts)
2019
Steel, ceramic tiles, Lumex thermoplastic polyester,
acrylic, FogScreen, HD video, LCD monitor, Raspberry Pis,
E-INK screen, MFC bricks, silicone tubes, cables, microbes, water,
low energy dehumidifiers, radio, miscellaneous objects and images
170 x 118 x 118 in / 433 x 300 x 300 cm
Courtesy of Whitechapel Gallery
999 Years, 13sqm (The Future Belongs to Ghosts)
2019
Detail
Courtesy of Whitechapel Gallery
Hello World―For the Post-Human Age
2018
Contemporary Art Gallery, Art Tower Mito, Tokyo
Installation view
Photograph by Shintaro Yamanaka
Sprung a Leak
2016
Multi-channel video, raspberry pis, cables, humanoid robots, robot dog, custom fountain, privacy shades, lamps, dog pen, bookshelf, assorted books, miscellaneous items, solar vitamin bottles
18 min
Dimensions variable
Photograph by Shintaro Yamanaka
Sprung a Leak
2016
Tate Liverpool
Installation view
Photograph courtesy of the artist and Galerie Emanuel Layr, Vienna
Test Cards: Sprung A Leak
2017
Galerie Emanuel Layr, Vienna
Installation view
Photograph courtesy of the artist and Galerie Emanuel Layr, Vienna
Test card I
2016
Custom acrylic stands, custom anodized server case, uv media print on acrylic, foam gauze, LED light wire, cables
56 x 26 x 8 in / 143 x 66 x 20 cm
Photograph courtesy of the artist and Galerie Emanuel Layr, Vienna
What the Heart Wants
2016
HD Video
41 min 5 sec
Co-produced by the Frans Hals Museum
Courtesy of the artist and Galerie Emanuel Layr, Vienna
What the Heart Wants
2016
Video still
What the Heart Wants
2016
Video still
What the Heart Wants
2017
K11, Shanghai
Installation view
What the Heart Wants
2016
9th Berlin Biennale
Installation view
Photograph by Timo Ohler
Handy if you’re learning to fly I, II
2016
Custom-built holocube, assorted miniatures, HD video, cellophane, plexiglass stands, corn syrup, lacquer, C-type print, book
Dimensions variable
Photograph by Timo Ohler
Courtesy the artist and Barbara Seiler, Zurich
A Pictorial Guide I, II, III
2016
Custom 2U server case chassis, transparent LCD screen, video, cloud study, media player, LED lights
Dimensions variable
Photograph by Timo Ohler
Courtesy the artist and Barbara Seiler, Zurich; Private Collection
Working on What the Heart Wants
2015
3 screen installation, HD video, Raspberry Pis
Video still
Working on What the Heart Wants
2017
Frans Hals Museum, Haarlem
Installation view
Photograph by Gert Jan van Rooij
Hyperlinks or It Didn’t Happen
2014
HD Video
22 min 30 sec
Hyperlinks or It Didn’t Happen
2014
Video still
Hyperlinks or It Didn’t Happen
2014
Video still
Frieze New York
2015
Barbara Seiler, Randall's Island Park
Installation view
Plagiarist of my Unconscious Mind!
2015
Château Shatto, Los Angeles
Installation view
Photograph by Elon Schoenholz
Server (End of Flight)
2015
Intel 1U short depth server chassis, c-type print, plexiglass, corn syrup, enamel
19 x 15.75 x 2.75 in / 48 x 40 x 7 cm
Photograph by Elon Schoenholz
Self-plagiarized Study for Lover One
2015
HD video
2 min 18 sec
Installation view
Photograph by Elon Schoenholz
Self-plagiarized Study for Lover One
2015
Video still
Server
2015
Intel 1U short depth server chassis, c-type print, plexiglass, corn syrup, enamel, 3D printed plaster, figure
19 x 18.5 x 2.75 in / 48.2 x 47 x 7 cm
Photograph by Elon Schoenholz
AGNES (the end is near)
2014
Digital video
22 min 19 sec
AGNES (the end is near)
2014
Video still
La Voix Humaine
2014
Kunstverein München, Münich
Installation view
Courtesy of Kunstverein München e.V.
Photograph by Ulrich Gebert
How happy a Thing can be
2014
HD Video
9 min 30 sec
How happy a Thing can be
2014
Video still
Phantom Limbs
2014
Pilar Corrias, London
Installation view
Courtesy of Pilar Corrias, London
Lost, Teeth
2014
3D printed plaster, hardener, wax
3 pieces: 10.6 x 5.7 x 5.8 in; 7.8 x 4.2 x 4.3 in; 4 x 2.1 x 2.1 in / 27 x 14.49 x 14.88 cm; 20 x 10.74 x 11 cm; 10 x 5.37 x 5.50 cm
Courtesy of Pilar Corrias, London
The Brightness
2013
3D Stereoscopic video
4 min 30 sec