Oli Sorenson

By exhibiting his digital works in venues associated with the visual arts, Oli Sorenson questions the status of the artist as a creator of unique, one-off objects. He highlights the contradictions between notions of authenticity and current means of mass reproduction in an era of digital image overload. In particular, he seeks to destabilize the idea that art is created in a vacuum, favoring gestures of quotation and creative appropriation. When he copies, transforms, and combines existing images by recognized artists, his works provoke confrontations between new images and familiar forms in order to interact more closely with the collective memory of art lovers who frequent galleries.

Oli Sorenson's remix art was first recognized in London (UK), where he participated in several media art events at the Institute of Contemporary Art (2003-06), Tate Britain (2006), and the British Film Institute (2008-10). He built an international profile with performances at ZKM (Karlsruhe, 2002), ISEA (Helsinki, 2004), and the Mapping (Geneva, 2009) and Sonica (Ljubljana, 2012) festivals. Based in Montreal since 2010, Sorenson has shown his work at Power Plant (Toronto, 2014), FILE (Sao Paulo, 2015), Monitoring (Kassel, 2017), Art Mûr (Berlin, 2018), Elektra (Montreal, 2019), and TOPO (Montreal, 2020, 2016).