Is Anybody Home Lol

Super Dakota is pleased to present Is Anybody Home LOL a selection of works in time of social distancing.

Taking its title from a piece by the Swiss duo !Mediengruppe Bitnik, Is Anybody Home LOL features 18 international artists  including !Mediengruppe Bitnik, John Baldessari, Neïl Beloufa, Jeanne Briand, Alex Clarke, Sarah Derat, Chris Dorland, Peter Halley, Sanya Kantarovsky, Danica Lundy, Isaac Lythgoe, Connor McNicholas, Hugo Pernet, Real Madrid, Asha Schechter, Ariane Schick, Bent Van Looy and Julia Wachtel.


A figure of the Pictures Generation artists who emerged in early-1980’s New York, Julia Wachtel’s early work mined posters of movie stars, pin-up girls, political figures, and pop music icons, as well as cartoon figures drawn from commercial greeting cards.

Her current work primarily explores the vast space of the internet, a place of constantly replenishing images on a disorienting scale. Wachtel appropriates, juxtaposes and ultimately distills these images into concentrated paintings, shifting the original logic and proposing an examination of the emotional, political and aesthetic conditions of an image dominant world.

Hope, 2015
Oil, flashe and acrylic ink on canvas
152.4 x 330.2 cm – 60 x 130 in

Price:  60,000 USD

!Mediengruppe bitnik

!Mediengruppe Bitnik (read – the not mediengruppe bitnik) are the artists Carmen Weisskopf and Domagoj Smoljo. Their practice expands from the digital to affect physical spaces, often intentionally applying loss of control to challenge established structures and mechanisms. Their works formulate fundamental questions concerning contemporary issues.

The duo has exhibited in institutions around the world such as Palais de Tokyo, Fondazione Prada, The Pushkin Museum Moscow, Nam June Paike Art Center, Shanghai Minsheng 21st Century Museum, Kunsthaus Zürich,  Cabaret Voltaire Zurich…

“We found that “hacking” could inform our artistic practices, taking the term from internet culture and trying to use the same kind of methods and strategies in the cultural field. We look at society as a system, as an input and output that we could tweak.”

Solve this captcha: Is anybody home lol, 2016
8mm white glass tubes, transformer
83 x 447 cm – 32.7 x 176 in

Edition of 3 + 1AP

Price: 20,000 EUR


Asha Schecter’s works are hyperreal digital 3D models of everyday objects printed on adhesive vinyl and installed directly on the wall. They are Oldenburg-oversized-like, inherently vivid and performative, simultaneously floating and arrested, discarded and at rest, ready to decay, to become something else.

Asha Schechter (b. 1978, Portland, OR) lives and works in Los Angeles. His recent exhibitions include Jenny’s, Los Angeles; Shane Campbell Gallery, Chicago; VSF, Los Angeles; Los Angeles Municipal Art Gallery; Sweetwater, Berlin; Galerie Christine Mayer, Munich; and Octagon, Milan. 

House Clock (glass house), 2019
Inkjet print on adhesive vinyl
152.4 x 100 cm
60 x 39 in

Edition of 1 + 1AP

Price: 3,000 USD

Electric Kettle (In studio), 2019
Inkjet print on adhesive vinyl
213.4 x 104.1 cm
84 x 41 in

Edition of 1 + 1AP

Price: 3,200 USD


DANICA LUNDY (b. 1991)
Just Lather, 2019
Ballpoint pen on paper
mounted  on canvas
101.6 x 76.3 cm
40 x 30 in


Using oils and pens, Danica Lundy (b. 1991) builds worlds to evoke vivid, slow-release experiences. 
Autobiographical content shares space with collective and imagined histories. Recently, these worlds have settled around adolescence, where sentience is heightened to a fever pitch and many versions of selves are tried on and discarded. Thinking about the dull edge between woman- and girl-hood provides access to a familiar paradigm of untidy transformation – of discovery, danger, and abrupt loss of innocence.


Neïl Beloufa (b. 1985) occupies the space between various dichotomies. Reality and fiction, cause and effect, presence and absence are the polarities between which the artist’s work begins to take form.

Developing his reflection on these by combining various media, including sculpture, video and painting into single installations, Beloufa masterly manages to deconstruct our contemporary systems of belief by moving between the real and the imaginative.

NEÏL BELOUFA (b. 1985)
Secured Wall Series, 2015
Foam, pigment and iron,
in artist’s frame
71.1 x 45.1 cm
27.9 x 17.7 in

Price: 15,000 EUR


Incorporating painting, photographic works, text pieces and installation, Alex Clarke (b. 1988), London based artist, places a sharp focus onto the network of relationships around not only the artwork but also practices of making and dissemination.

Alex Clarke identifies that the very reason to want to make an artwork at all can be framed by the desire to talk to one another- that both artwork and practice act as placeholders and expanded gestures of discussion or exchange.

ALEX CLARKE (b. 1988)
Anti You, 2018
Gouache, acrylic on aluminium
91 x 61 cm
35.8 x 24 in

Price: 6,000 EUR

ALEX CLARKE (b. 1988)
Outside, 2018
Gouache, acrylic on aluminium
91 x 61 cm
35.8 x 24 in

Price: 6,000 EUR


“Beyond the formal, we must contend with the signs and symbols he juggles in his work—of cells, both biological and carceral; networks, digital and personal; historical progressions depicted abstractly; and color theory and its physio/psychological impact. Furthermore, Halley lays a heavy philosophical trip onto the viewer: the question of utopia versus heterotopia versus dystopia. There’s also the nagging question as to whether this is all just an elaborate ruse to exhibit paintings or a concerted effort to re-envision the idea of the gallery, museum or even the space we inhabit in general.”
–  Will Corwin, Brooklyn Rail 2019

PETER HALLEY (b. 1953)
Untitled, 1991
40.2 x 55.6 cm
15.9 x 21.9 in

AP IV from an edition of 75

Price: 2,500 EUR


Untitled (triumph personal style), 2016
Ultrachrome ink, digital ground,
gesso, UV gel on linen
47.5 x 35 cm – 18.7 x 13.8 in

Price: 3,500 EUR

Moving away from oil paint and brushes, the Scanners series engages in a deeper dialog with reproductive technologies and machinery moving the artist further away from the humanist conception of painting.

Chris Dorland (b.1978) is a New York based artist. Using printers, scanners and camera phones as tools to respond and interact with speed and directness to the never ending production of mediated images, signs and codes, Chris Dorland collaborates with the machines in his studio to distort and reproduce consumer images which are subsequently printed onto specially prepared canvases and sewn together into large scale works.


Rebecca’s Room goes from being a literal space, a bedroom that is described, visited through its objects and stories associated with it to a metaphor for a place for reflexion and introspection about the past, present, image, voice, the unconscious, desire, fear, hope, strength…

Rebecca’s Room becomes like a reinvented memory palace (a method for memorizing stories and things) : confined within the room – and with in the confines of the text – the video offers a way to navigate – Rebeccas Room becomes a possible map to launch into an unknown.

Rebecca’s Room, 2018
5:50 min

Edition of 3 + 1 AP

Price: 2,000 EUR 


Heaven and Hell (diptych), 1988
Aquatint and photo-etching with scraping and roulette on two sheets of torn of-white Rives BFK paper
121 × 80 cm – 47.6 x 31.5 in (each)

Edition 30/45

Price: 18,000 EUR

“I’m really interested in what conceptual leaps people can make from one bit of information to another and how they can fill the space. “

Detail of the mosaic ceiling of San Giovanni Baptistery, Florence. 


Hugo Pernet (France 1983) is a French artist living in Dijon. His pieces have been exhibited in many institutions such as MAMCO (Geneva), Frac Aquitaine (Bordeaux), Palais de Tokyo (Paris), Villa Medicis (Rome), Musée d’Art Moderne de la ville de Paris, Hunter College Gallery (New York), Frac Bourgogne (Dijon), Frac Limousin (Limoges), Musée d’Art Contemporain (Lyon)…

“At first a minimalist and appropriationnist painter, I then allowed myself to go with the flow, little by little. Each painting is the only painting one can make : if it works, it means there is no other path to follow. Carried away by the current of a rip, one shouldn’t resist in any way. I will be recovered off the coast.” 

HUGO PERNET (b. 1983)
Candle, 2019
Oil on canvas
24 x 19 cm
9.5 x 7.5 in

Price: 1,500 EUR


Interweaving materials, molecules and affects, Jeanne Briand’s practice looks into progress in science and in genetic. She questions our specificities as well as our relationship with others through the fundamental organic structure that is our DNA. Her hybrid works made of mechanical parts, glass or leather stand at the crossroad of scientific discoveries and artefacts.

Jeanne Briand (b. 1990) lives and works in Paris. She holds an MFA (dnsap with jury’s honors) from Ecole Nationale Supérieure des Beaux-Arts de Paris.

PROX •-• IMITY, 2019
Painted aluminium masks
30 x 27 x 11 cm
11.8 x 10.6 x 4.3 in

Price: 3,000 EUR

Real Madrid

The G.R.I.D., 2018
print on aluminium
27 x 20,5 cm
10.6 x 8.1 in

Price: 1,200 EUR

Real Madrid is an artist duo founded in 2015 in Geneva as a platform for collaboration that focuses on identities in development and local narratives on a Mediterranean background. Their name plays with the concept of competitive spirit and its transformation into merchandise, interrogating authorship and claiming their status as an imitation of an overpriced brand. An interest in miscommunication led to a name that makes it problematic to spread and track images of the work on any search engine.


SARAH DERAT (b.1984)
(person), 2020
silicone rubber, snaps, steel
30 x 27 cm – 11.8 x 10.6 in

Price: 2,800 EUR

Sarah Derat uses disciplines such as archeology, paleoanthropology and neurosciences within the same holistic horizon.
The starting point of her research can be found in scholarly studies on the possible evolutionary connection between language and toolmaking: how they evolved side by side, possibly feeding off each other & how they ignited our ability to be in the world.

Sarah Derat (b. 1984) is a french artist living in London. She earned her BA and MA in Fine Arts from the Ecole Nationale Supérieure des Beaux-Arts de Paris, as well as a BA in Art History/Archeology from Ecole du Louvre in Paris. 

Isaac Lythgoe

Through his sculptures and installations Isaac Lythgoe (b.1989) borrows from popular culture and fictions to create modern allegories. His practice presents a world filled with contradictions in which a flux of mythologies plays a significant role in the building of our ethos.

Lythgoe’s work transports the viewer into a dystopian psychedelic dream using allegories and archetypes of power to address tensions while still expressing the conceptual and formalist approach of making.

Just always be waiting for me, 2020
polyester, epoxy, fillers, automotive paint,
lacquer, stainless steel, walnut, neoprene
70 x 23 x 40 cm
27.6 x 9 x 15.7 in

Price: 8,500 EUR

Silk Road, 2020
jesmonite, pigments, stainless steel,
carbon bre, amacite, graphite, epoxy, flowers
156 x 50 x 60 cm
61.4 x 19.7 x 23.6 in

Price: 9,000 EUR


“I want to seduce the viewer with saccharine visions and a hightened sentimentalism, whilst causing doubt and distress by telling fundamental stories and uneasy truths. 

I evoke the radical ideas of Goethe, some of my figures perhaps reminiscent of Jungian archetypes and boogey men (or boogey women) out of folk tales. Or indeed the Biedermeier anachronistic fairy tale figures one finds in Anton Pieck illustrations.”

BENT VAN LOOY (b. 1976)
The Neighbour, 2020
oil on linen
40 x 30 cm
15.7 x 11.8 in

Price: 2,000 EUR


Phase Transition, 2019
Plexiglas, undeveloped photographic paper,
artificial ivy, shell, circuit board, cable, hardware
25.4 x 182.8 cm
10 x 72 in

Price: 6,500 USD

Connor McNicholas (b.1990) is a New York based artist. His work combines disparate objects and materials from varying times, cultures, and contexts into sculptural assemblages that present nonhierarchical ways for structuring reality.

In his approach, McNicholas articulates both poetic variations and diversity while dissolving boundaries between binaries such as past and future, primitive and modern, natural and synthetic, and model and reality.

Gunudjarri mardbamaradba translates to “Rainbow is resting, curled up sleeping”. This sample is from an ancient aboriginal songline, an oral tradition used to recall and pass on cultural values and important knowledge of the landscape, as well as navigate across vast distances. Repeating the words of the song describing the locations of geographical landmarks along a route, they were able to perform a sort of oral map. Gunudjarri mardbamaradba is the intro of this particular songline which represents the first part of the journey from the interior of the home into the outside world, something we all anxiously await amidst our current crisis.


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