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Critics Bash New Modern ‘Art’ Exhibit ‘Continental Breakfast’

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A degenerate exhibition at an art gallery in New York is raising eyebrows with its strange erotic display.

Video of the overtly sexual exhibit dubbed, “Continental Breakfast,” made its rounds on social media this week, prompting many to question whether the so-called “art” contributed anything of value to humanity.

Bizarre footage of the display shows two women sitting atop two apparatuses as they position their faces into a massage table-style head rest, while they raise their hind ends.

The Mutual Art site featured a long-winded BS explanation of what the exhibit was supposed to represent:

Provoking our willingness to submit, Anna Uddenberg takes the anesthetic armature of our increasingly automated environment and distorts it into sexualized pseudo-functional sculptures. The works in Continental Breakfast speak specifically to the body as an asset to modify, control in order to relinquish autonomy to user-friendly technologies. Similar to a BDSM contractual agreement, the body is wilfully supported, entrapped, pampered and ultimately rendered useless, all while on view for public consumption. Uddenberg questions the degree to which we are willingly seduced by algorithms in an increasingly data-driven world.

Pulling from the aesthetics of airline seats, hospital architecture and hotel design, the sculptures express a hyper-functionality inaccessible to human use. Uddenberg’s work materializes at the eroding boundary between object and human. The modification of bodies through digital and medical procedures and the humanization of industrial design through touch screens, organic shapes and ergonomic design come crashing together in Uddenberg’s work.

Continental Breakfast expands on Uddenberg’s fascination with functionality as a mode of control. In the effort to make life efficient, we ultimately change our conception of selfhood on the rhythmic dopamine drip of updates, notifications, and information excess. The title refers to free breakfast offered at hotels, a replica of the light morning meals common throughout the European continent. A simulacra of breakfast offered to the body in transit. Seemingly a luxury, aspirational values are projected onto cheap, mediocre food. Similar to an airplane meal, the body in transit seeks to rectify its authority as it submits to a controlled environment. The hotel, a single domino in the chain of events in cities increasingly inhospitable to everyone but the ultra-wealthy. Uddenberg translates symbolic values of real-estate textures, ‘skins’, veneer and the sheen of steel crowd control blockades into sculptural materiality. These quasi-functional objects of financial domination provide the stage on which performers surrender their bodily autonomy. Stuck in a feedback loop of ‘user-friendly’ technology, interface and industrial design our behavior contorts in the navigation of both physical and digital realms. 

The art exhibit was panned and mocked widely on social media.

“Why are artists like this?” questioned the popular Culture Critic account on X.

“Modern art,” @ClownWorld_ captioned footage of the display, adding a facepalm emoji.

If it seems like the installation has more to do with the BDSM fetish than art, that’s because the creator, Anna Uddenberg, regularly creates bizarre sexualized pieces meant to offend the senses, as evidenced by photos of her “art” on Instagram.

The latest exhibition leaves no question that the art movement has been hijacked by progressive liberal artists who are injecting their weird kinks and fetishes into the art space with their fucked up “modern art.”


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