Meineche Hansen reflects on pornography, gender and working relationships. The young woman minding the entrance warned me of the contents. Using a range of materials from clay and laser cut wood to CGI animation of post-human porn viewed with an oculist rift headset, Hansen has outsourced skills and labour for the bulk of this exhibition. But she leaves a literal mark with a facial imprint on a clay plaque, referencing the hi tech creation of an avatar, and uses female ejaculate mixed with methylene blue to make a drawing (reminiscent of Tracy Emin’s mono-prints).

 The two films one screened, the other 3D, show the avatar EVA v3.0. EVA has a penis and fucks a large lump of digital clay, unpleasantly evoking for me the spirit of the creation of Adam and god as woman.  The gallery space had a clean almost clinical, adult  feel to it. Sitting on the large, black, vegan leather beanbag making notes after using the headset to view SECOND SEX WAR ZONE (2016) on the gaming PC. I had a perfect view through the arch to the BDSM wooden structure (based on Bob Flanagan and Sheree Rose’s 1991 installation), which supported the screen showing DICKGIRL 3DX (2016) I felt a sense of surfeit. Meineche Hansen born in Denmark 1981, combines her exhibitions and making with lecturing, running seminars and events and working collaboratively, this exhibition is where her research based practice is now, it has helped me to think about the focus of my own work and to be open to future developments.

 

 

​

 

Image top Second Sex Warzone 2016,

Bottom Dickgirl 3D (X) 2016