Anti-globalization movements object to the connection – a logically necessary one – between the free flow of merchandise and money as opposed to the restrictions on migration. Usually, however, they overlook the fact that both global production and trade and the migration of labour along with governmental attempts to regulate it, have always been typical characteristics of capitalist societies. What do office workspaces really look like in a high-profile news agency where for decades a multinational staff has produced signs and images as immaterial products on a global level “just in time” for a borderless market with a limitless distribution? In her photographic work, Christine Lohr records the media workers’ attempt to personalize their high-efficiency work environments, which are subject both to the control of a modern computer network and the personal supervision of their superior within a “flat hierarchy”.
The artist turns into a spy. The eye falls upon archaic ways of creating individual subjectivities: national flags, plastic souvenirs and other knick-knacks. Amid glamorous, hi-tech surroundings, the staff arrange private fetishes to create dioramas of a traditional office workspace with all its familiar dreariness.
Autor des Textes
Christine Lohr, 8 photographs on polystyrene, 50x70 cm, text (2002). Venue: Konsumgebäude, Tornitz