Sofia Hultén’s work oscillates between a critical tradition and the desire for a new cult in the current state of political hopelessness. In the tradition of Walter Benjamin’s ragpicker, she works with found objects and everyday observations in the urban environment, exploring parallel movements and states of mind. The title of her recent exhibition, “Undead, undead,” echoed a refrain from the 1979 single “Bela Lugosi’s Dead,” by the post-punk group Bauhaus. Undead, undead (all works cited, 2019) was also the name of two polished-steel excavator teeth, hanging from the wall, looking like gods