White Noise takes the enclosed architecture of the contemporary office as an organizing structure, extending Anna Uddenberg’s ongoing interest in functionality as a means of control. At the Telegraph Gallery, the exhibition becomes a Koolhaasian Junkspace: a compressed administrative interior of suspended ceilings, fluorescent light, partitions, ventilation systems, and Herman Miller office chairs. Here, the ergonomic promises of comfort, efficiency, and usability take on a more psychological dimension. Uddenberg’s fragmented and increasingly disembodied figures lose their corporeal autonomy, becoming extensions of the furniture and systems that contain them; the body itself becomes part of the infrastructure.
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