Oli Sorenson's remix art was first recognized in London, after taking part in numerous media art events at the Institute of Contemporary Art (2003-06), Tate Britain (2006), and the British Film Institute (2008-10).
He also gradually established an international profile when performing at ZKM (Karlsruhe, 2002), ISEA (Helsinki, 2004), Mapping (Geneva, 2009) and Sonica Festivals (Ljubljana, 2012). After moving to Montreal in 2010, Sorenson redirected his work towards gallery based projects, and since exhibited at The Power Plant (Toronto, 2014), FILE (Sao Paulo, 2015), Monitoring (Kassel, 2017), Art Mûr (Berlin, 2018) et Elektra (Montréal, 2021).
Oli Sorenson presents Chaîne logistique, a sequence of animations composed of simple geometric shapes in extremely vivid colors. Created in a hybrid style, this video recalls the square layout of Instagram, the pixelated landscapes of Minecraft as much as the works of american painter Peter Halley. Sorenson’s images thus feature a multitude of scenes, both abstract and figurative, to illustrate the ubiquity of networks that exert controls over our social relationships. Among these fiber optic matrices that feed the global digital economy, the artist tries to interweave other networks of roads, shipping lanes, pipelines, electrical cables and sewers, as well as the atmosphere saturated with WiFi and Bluetooth signals, in addition to carbon polluants and pesticides. These conduits and many others contribute to an acceleration of consumption flows at the heart of contemporary societies, particularly through the rapid obsolescence of technological devices, and other sectors of human activity which are accumulating on ever-increasing areas of land and sea, to the point of causing urgent ecological repercussions.