In parts of Asia Pacific, the Americas, Eastern Europe and Central Asia, increasing restrictions on accountability measures and basic civil freedoms allow corruption to go unchecked. She is a Creator Doctus (practice-based PhD) candidate at Sandberg Instituut (2020–2024).While corruption takes vastly different forms from country to country, this year’s scores reveal that all regions of the globe are at a standstill when it comes to fighting public sector corruption.Īt the top of the CPI, countries in Western Europe and the European Union continue to wrestle with transparency and accountability in their response to COVID-19, threatening the region’s clean image. She is part of On-Trade-Off: a transnational artist-led project on the new energy mythology around lithium. In 2019, she was nominated for the Prix de Rome. In 2016, she collaborated with Dutch investigative journalists on the Panama Papers. She is an alumnus of the Rijksakademie van beeldende kunsten in Amsterdam (2017–2018). Her current work focuses on the financialization of the future as a ‘catastrophe’ and uses language, the voice, and the respiratory system to examine these monetized speculative catastrophes within our social, biological, and technological ecosystems. This research is the basis for the conception of new characters, stories, objects, sculptures, sound, and mixed-media installations. Her work focuses on the effects of abstract value systems on historiography and individual lives.

Along with concept materials for Herregraven’s current project, the exhibition also features A Prelude to: When The Dust Unsettles (2022–23), made as part of the artist-run project On-Trade-Off, which explores wide-ranging issues related to technological and industrial raw materials, financial speculation, and energy from the starting point of the soaring costs of lithium, which is used to make the batteries that power our electronic devices.įemke Herregraven Femke Herregraven investigates which material base, geographies, and value systems are carved out by financial technologies and infrastructures. Though created before Covid, the title lends the work further nuance for us, having experienced a pandemic in which we lived our lives in fear of an invisible virus in the air, and remain caught in its grip. In this theatrical installation, which draws on research into catastrophe bonds (a type of investment that yields a return in the event of a natural disaster), three animals that attest to past ecological catastrophes and went extinct are resurrected as digital models to debate the sixth mass extinction that humans are bringing about. Marking her first exhibition in Japan, this exhibition is a rare chance to see Herregraven’s work, especially the internationally acclaimed Corrupted Air – Act VI (2019).

1982 in Nijmegen, the Netherlands based in Amsterdam) investigates contemporary financial technologies and infrastructures through abstract data, examining their meaning and ecological impact, and creating unique images using an array of mediums and interdisciplinary approaches.

Corrupted city