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Sofia Hultén, This, That, Other, 2015, bicycle frames, metal barriers, dimensions variable.

Sofia Hultén

Daniel Marzona

Sofia Hultén, This, That, Other, 2015, bicycle frames, metal barriers, dimensions variable.

“A politics to come,” Giorgio Agamben recently asserted, demands a conception of “a way of life that is not based on deeds or on property, but on use.” I read his interview with Die Zeit the same week I saw Sofia Hultén’s recent exhibition “Truckin’.” Its titular video (all works cited, 2015) shows the artist walking through Berlin, swapping her sneakers for others she finds on the street. There are surprisingly many of these lying around, and she carefully places each discarded pair in the same position as the new pair—one of which is caught in a bush next to a brick wall. The shoes all seem to fit: no Cinderella syndrome here. She appears to be following an urban equivalent of the National Park Service injunction “Leave no trace.” The one work feels more or less political in Agamben’s sense: It is a didactic work, one speaking of a rejection of ownership, of being at peace

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