Molly Soda has been featured by Kesley Ables in the article An introduction to the world of Net Art for the Washington Post as one of the principal artists to know when being introduced to the world of digital art. Referring to Soda, Ables writes: “Imbued with a gnawing emptiness, so much of Soto’s work seems to teeter on the brink of a breakdown, raising the question, how much sharing is too much? In one video, Soto details the fungus growing in her armpit. In another, her face, wet with tears, glows on a computer screen while she takes iPhone selfies.” You can read the full article here.
Molly Soda has been featured by Rosalind Duguid in her article Got Cabin Fever? Explore the Art of Looking Through Windows for Elephant. Duguid writes: “Twenty-five years down the line, Tumblr-famous Molly Soda was regularly updating 30,000 people (myself among them) on the internet. Soda’s work since has played with the feelings of the thrill and anxiety induced by carving out a window into your life online.” You can read the entire article here.
Time Out recommends an online talk held by Molly Soda and part of the live programming for Well Now WTF?, an online exhibition by Silicon Valet. The event features a digital tour of Soda’s favourite Tumblr accounts and a discussion about how the platform evolved through time. Find more details here.
Molly Soda has been featured on Garage in relation to her solo exhibition You Got This at Jack Barrett Gallery. Soda is quoted saying “I believe that we’re all sort of performing. I’m performing when I talk to the cashier at Target too. We’re obsessed with understanding the authentic self, but it’s fictionalized. We need people to toe these lines between authentic and fake.” Click here to read the full article by Hannah Hightman.
Molly Soda’s new video game titled Wrong Box has been featured as one of the 10 best games of GDC 2019. Holly Green, the author of the article published on Paste Magazine, explains her choice by reporting: “Wrong Box is such a nostalgic specimen of the online world I once knew, a veritable walking tour through my teenage social life, from the shiny blinged clip art and the crude pop-up ads, to the niche web forums and tacky personal pages, each bursting with the hope and promise of random but meaningful human connection”. Click here to read the article.
Lara Pan has interviewed Molly Soda for the 21 issue of Musée Magazine. The short interview focuses on Soda’s artistic practice and on the relationship between her private and online life. She is quoted saying “I’m often appropriating my own image and remixing it, using elements from my early years on the Internet. I’m super drawn to imagery found on old, now defunct platforms, such as MySpace or Geocities. It’s important for me to archive and reuse imagery that’s been lost or forgotten, or even considered ugly or a nuisance.” You can read the full interview here.
On the occasion of the release of her new videogame titled Wrong Box, Molly Soda has been featured by editor Hannah Hightman in V Magazine. Highlighting how the digital world has changed and evolved through the last decades, the text puts an accent on Soda’s nostalgia for “going online as a conscious decision”. The artist explains: “I used to make time in my day to sit down at the computer and surf the web. I long for that feeling of being lost online, of being surprised and excited by whatever I had found. The internet is no longer a special place away from the world, but instead a tool for navigating the world.” Read the full article here.
The Washington Post has reviewed the National Portrait Gallery’s new exhibition Eye to I: Self-Portraits From 1900 to Today, which includes the video work by Molly Soda Who’s Sorry Now. To watch the video and read the review by Sadie Dingfelder, click here.
Magali Nachtergael has written an article titled Vue sur chambre for Simone, an annual newspaper made to accompany PhotoSaintGermain, a photographic journey along the rive gauche made up of galleries, cultural institutions and bookshops. The article considers the relationship between Molly Soda and Amalia Ulman, their different Instagram personalities and intertwining photographic careers. To read the article, in French, click here.
artnet News mentions Molly Soda in an article about young artists’ strategies to get attention and sponsorship outside their gallery space. The author writes: “While making compelling artworks online is certainly a great way to garner a large and dedicated following, it’s not exactly the road to riches. So it makes perfect sense that Soda would make an account on Drip to ask her followers for financial support in exchange for her content”. Read the article here.
Digital Objects has just published an interview with Molly Soda, who has recently been chosen as Digital Objects’ featured artist. Speaking about the site specificity of digital native content, Soda says: “Nothing will ever capture the full scope of interacting with something online. I’ve always felt that my work is best viewed from the comfort of your own home via your personal device. The work is about the Internet and needs to live on the Internet and evolve with the changing landscape, the comments, and the eventual decline of certain websites.” You can find the full interview here.
Drip has just posted a new article and video interview with Molly Soda on Medium. In the interview, Soda discusses the role of audience engagement in her work, and how important it is for her to receive positive feedback. You can find the full interview here.
For the second month in a row, an Annka Kultys Gallery exhibition has been selected as one of Hackney Citizen’s top East End Exhibitions. Making an interesting connection between the current show, Dominic Dispirito’s In the Garden, Council Housed and Violent, and the previous show, Molly Soda’s Me and My Gurls, the author Andrew Barnes writes: “Annka Kultys Gallery is hosting another digital artist whose work would be literally unimaginable mere decades ago. Where Soda utilised her internet presence to bring viewers inside her personal Panopticon, Dominic Dispirito is concerned with how others are viewed and vilified, namely the British ‘chav.’” In the Garden, Council Housed and Violent will remain on view through 28 July. You can read the full article here.
Molly Soda’s solo exhibition, Me and My Gurls, at Annka Kultys Gallery is currently featured on ArtForum’s “Must-See Shows” list, the editors’ selection of essential exhibitions worldwide. The show, Soda’s third at AKG, transforms the gallery into a physical manifestation of the artist’s digital studio. The works on display expose Soda’s computer desktop and portions of her massive digital archive to an IRL (in real life) audience, building upon the artist’s previous solo shows at the gallery as well as her career-long exploration of what it means to live online. Me and My Gurls will remain on view through 16 June. To see the full listing of Must-See Shows, click here.
French publication ArtPress has just posted a fantastic review of Molly Soda’s ‘Me and My Gurls,’ written by art critic and professor of Neo-Literature Magali Nachtergael. In the piece, Nachtergael writes on Soda’s mastery of the digital medium and her ability to effortlessly move between different platforms, going so far as to compare her practice to a ‘ready-made autobiographique’ following the tradition of feminist artists like Gina Pane and Sophie Calle. Me and My Gurls is currently on view at Annka Kultys Gallery through 16 June. To read the full review, click here.
Artlyst has just published Paul Carey-Kent’s exhibition list of Choices Up Now in London, which includes Molly Soda’s Me and My Gurls. The exhibition, Soda’s third solo show at AKG, transforms the gallery into a physical manifestation of Soda’s digital desktop space. Me and My Gurls will remain on view through 16 June. To read the full review, click here.
Organ has just posted a review of Me and My Girls, Molly Soda’s third solo show at Annka Kultys Gallery. The show, on view through 16 June, presents recent video work by Soda alongside vinyl prints from the artists personal archive and printed works on aluminium and acrylic. You can find the full review here.
French publication The Steidz has reviewed Molly Soda’s Me and My Gurls, on view at AKG through 16 June. The author, describing Soda’s command of social media, writes that she reveals the inner workings of digital mechanics in an almost archeological fashion. You can find the full review here .
Mousse Magazine has featured Me and My Gurls, Molly Soda’s third solo show at AKG. The show, which aims to simulate Soda’s digital desktop environment in the physical gallery space, presents recent work by Soda in which the artist continues to explore the relationship between viewer and viewed in contemporary digital culture. Me and My Gurls will remain on view through 16 June. For more information, click here.
Art critic Tabish Khan has included Molly Soda’s Me and My Gurls, the artist’s third solo show at AKG, in his review of the top 7 shows to see in London this week for Fad Magazine. Describing the immersive nature of show’s installation, Khan writes: “it’s as if we’ve stepped into the screen itself.” Me and My Gurls will remain on view through 16 June. To read the full review, click here.
Art listings site Galleries Now has just posted Gallery 360/VR shots of Molly Soda’s solo exhibition Me and My Gurls, and included the show in their Weekender selection of top exhibitions around the world. On view until 16 June, Me and My Gurls presents a selection from Soda’s personal digital archive and explores the phenomena of watching and being watched online. To check out the 360/VR view, click here.
Things-to-do app Dojo has listed Molly Soda’s show Me and My Gurls to its Arts Radar list of top shows for the week of May 24. Soda’s third solo exhibition with AKG, Me and My Gurls will remain on view through 16 June. To read Dojo‘s review and check out the full listing, click here .
Time Out London has included Molly Soda’s solo show Me and My Gurls on its list of ’72 Marvellous Events and Things to Do in London in May 2018.’ To check out the full listing, click here.
VICE has just published a review of Me and My Gurls, Molly Soda’s third solo show at Annka Kultys Gallery, alongside an interview with the artist. Describing the titular work of the show, Soda says: “as you watch me dance, you’re seeing more and more dancing girls join me on screen, and as the video continues, I become the avatar—I become one of them. There’s an element of blending in—the anonymity of everyone doing the same thing online. It’s simultaneously very beautiful, that we’re all sharing these experiences and doing this stuff, but also very isolating and lonely.” You can find the full article here.
Wall Street International has featured Me and My Gurls, Molly Soda’s third solo exhibition at AKG. In this exhibition, Soda has created a physical manifestation of her computer’s desktop, thus inviting the viewer into her most personal virtual spaces. You can find Wall Street International‘s listing here.
London-based blog Just Opened London has written a review of Molly Soda’s solo show Me and My Gurls, on view at AKG through 16 June. They write, “Themes of vulnerability, narcissism and over-sharing run throughout and the exhibition is as likely to make you feel uncomfortable as it is to entertain. Molly lives her life online and she invites you to share it, at the same time prompting some (perhaps) difficult questions about the viewer’s own sense of self.” You can find the full review here.
Artist and blogger Katy Howe has written a review of Molly Soda’s solo exhibition Me and My Gurls, on view through 16 June at AKG. She writes: “Although some may perceive her work as shallow or superficial, if you take the time to look deeper, and I mean longer than a three second insta-gratification, you will find an intricately complex and engaged artistic practise, powerfully addressing structures of identity, especially female identity. She successfully explores the notion of authenticity in the interactions of our online selves, by looking at how social media, instant messaging and constant sharing invade our lives and in turn affect our interactions, highlighting and blurring boundaries between the personal and the public. She forces us to consider what it means to have a private life if we are sharing everything.” To read the full review, click here.
London art critic Paul Carey-Kent has just reviewed Me and my gurls, Molly Soda’s third solo show at AKG. He writes, “Molly Soda’s teeming and multifarious practice is most naturally online. Here, then, she effectively transports her studio to the gallery by covering the walls with images and footage from her laptop, complete with a 15 foot printout of comments on one of her YouTube posts which takes over the space sculpturally.” Me and my gurls will remain on view at AKG through 16 June. To read the full review, click here.
DROOL Creatives has featured Me and my gurls, Molly Soda’s third solo show at Annka Kultys Gallery. In the show, Soda has created an installation that mimics the interior of her computer screen, effectively inviting the visitor into her desktop space. To check out the listing, click here.
Time Out London will include a review of Molly Soda’s new solo show Me and my gurls in its upcoming print issue. Author Eddy Frankel writes, “Is Soda vain and neurotic? Totally. But we all are. It’s just that instead of hiding her vanity on a hard drive, she is letting it out and allowing the whole internet to tear it apart. And by exposing herself, she’s exposing the rest of us. If you don’t like what you see, you might just be seeing a bit too much of yourself.” Me and my gurls is on view at Annka Kultys Gallery through 16 June. To read the full review online, click here.
London-based website London Photography Diary has listed Molly Soda’s Me and My Gurls as one of its current exhibition choices in the city. In this show, Soda has transformed the gallery into a physical version of her desktop, thereby inviting the viewer into her most personal and sacred space. For more information and to see the full listing, click here.
The inaugural issue of the Boston Art Review has published an interview with Molly Soda. Discussing the relationship between space and art in her work, Soda says: “My art takes private space and broadcasts it. I’m more interested in intimate spaces as opposed to say, a city sidewalk or a subway car. While those spaces are equally as important to living, they don’t make their way into my work. I’m interested in what’s behind the door, not what’s outside of it.” Soda’s solo show Me and My Gurls is currently on view at Annka Kultys Gallery through 16 June. You can find the Boston Art Review here.
In a new guide to the city, London-based blog Lazy Oaf has listed Annka Kultys Gallery as its contemporary art choice. The author writes, “Upstairs from an unassuming row of shops by Cambridge Heath station, you’ll find one of the leading platforms for a future generation of artists. With a focus on multimedia art, Annka Kultys encourages these artists to bring their work from digital and online platforms into the gallery space, marking it out as different from your average gallery experience.” Check out the full guide here.
Community publication Hackney Citizen has written a round-up of the top shows to see in East London in May. Included in the list is Molly Soda’s upcoming solo exhibition Me and my gurls, opening at AKG on 9 May and running until 16 June. In a short preview of the show, author Andrew Barnes writes: “Soda is as keen as ever to share her world, and hang a lantern on the unique disconnections felt at the centre of online obsession.” To read the full listing and preview, click here.
A new editorial piece on mindful Internet usage written by Alexxa Gotthardt for Artsy features a still from Molly Soda’s 2017 video piece, Touch to Play. To read the full article, click here.
The Leipzig Global writer Maeshelle West-Davis has reviewed Virtual Normality — Women Net Artists 2.0, a group show at Museum der bildenden Künste, Leipzig featuring works by Molly Soda and Signe Pierce. West-Davis quotes Soda in the article: “All the work I do is very much about and for girls in their bedrooms – from my bedroom to yours. What we do when we’re alone and making that public.” To read the full review, click here.
In a new article examining the current generation of women net artists, Elle Italia reviews Virtual Normality – Women Net Artists 2.0 at Museum der bildenden Künste, Leipzig, specifically citing the the work of Signe Pierce and Molly Soda. You can find the full article here.
Swedish news outlet Kurinen has just written an article about Pics or It Didn’t Happen – Molly Soda and Arvida Byström’s collaborative publication of pictures deleted by Instagram. The article explores the phenomenon of censorship of the arts online. You can read the full piece here.
Molly Soda has been interviewed by Office Magazine writer Conor Hudnut. Soda details the re-staging of a work at NADA that was originally shown at 315 Gallery during her solo show I’m just happy to be here last summer. The work is a laptop containing a selection of Soda’s files that invited the viewer to directly interact with it. But, for NADA, Soda added a new twist: “I created a chat-box that talks to you. The bot lives on the computer with the files, and it’s kind of customer service-y. Maybe it’s just a bot, maybe it’s me, the artist, or maybe it’s whatever you want it to be. It’s there to interact with you, if you’re interested in doing so.” You can read the full interview here.
Welt author Rahel Zingg has written an article about young artists’ use of social media to combat societies standards of acceptability. Referencing Virtual Normality – Women Net Artists 2.0 at MdbK Leipzig, Zingg mentions the work of Molly Soda, Signe Pierce and Arvida Byström as exemplary of this trend. You can read the full article here.
Swedish publication Svenska Dagbladet has profiled the work of Molly Soda and Arvida Bystöm, whose joint publication Pics or It Didn’t Happen showcases images that were banned from Instagram. You can read the full article here.
Signe Pierce was interviewed by Sarah Ulrich for German publication Spex for her involvement in the group show Virtual Normality – Women Net Artists 2.0 at Museum der bildenden Künste Leipzig. You can read the full interview here.
In a recap of the Armory week shows in New York, Droste Effect includes Molly Soda’s installation for 315’s booth as a highlight of the NADA fair. You can find the full article here.
Art News’ Andy Battaglia and Alex Greenberger review Molly Soda’s installation for 315 Gallery’s booth at the NADA fair. The authors write: “Some work at NADA stares down the digital sphere. Brooklyn’s 315 Gallery is showing Molly Soda, who became an internet celebrity a few years back for posting her feminist selfies on Instagram, which censored them. Such notoriety is in the past, however, and Soda has turned her attention to the difficulties of intimacy with strangers online.” You can read the full fair re-cap here.
Molly Soda’s involvement in the 2018 NADA Art Fair is reported by The Art Newspaper. Soda will be showing a range of works at 315 Gallery’s booth from 8 March – 11 March. To read the full round-up of artists to see at the fair, click here.
Molly Soda has been interviewed by Sasha Geffen in a new piece for The Creative Independent. Talking about the tension between what happens on the screen and behind the screen, Soda says: “The internet is funny because we think everyone’s being vulnerable. We’re supposed to be intimate online, but obviously we’re curating ourselves, whether we’re conscious of it or not. We’re creating these mood boards of our lives. I think what’s interesting is not what we’re presenting, but what we’re doing behind the screen, what our actions are. A screen recording of what someone does on their computer or on their phone in a day is like a diary entry at this point. We don’t consider it.” To read the full interview, click here.
Hamburg-based news magazine Stern has reviewed Virtual Normality – Women Net Artists 2.0 at Museum der bildenden Künste Leipzig. Curated by Anika Meier, the show includes work by Molly Soda, Signe Pierce and Arvida Byström. To read the full review, click here.
In order to gauge public opinion of Virtual Normality – Women Net Artists 2.0, a group show at MdbK Leipzig curated by Anika Meier, Indie Mag has gathered responses from visitors to the museum about the current state of feminism today in this unique review of the exhibition. Molly Soda, Signe Pierce, and Arvida Byström are just three of the women net artists in the exhibition whose work seeks to carve out a space for femininity online. To read the full article, click here.
Cristin Leach has written a short but poignant review of Digital_self, a current group show in the Project Spaces at the Irish Museum of Modern Art featuring the work of Molly Soda. Leach writes: “Everyone’s a self-portrait maker now, broadcasting to a global audience via social media. Aptly, the most compelling work comes from artists using digital platforms.” Digital_selfclick here will be on view through 25 February. To read the complete review, .
In a new article about female artists in the time of social media, writer and curator Anika Meier discusses the work of Signe Pierce, Molly Soda, and Arvida Byström. Analyzing the changing nature of female identity and artistic practice as mediated by digital technology, Meier asks tough questions about the future of the art world and whether or not art will be successful if it does not receive a lot of attention on social media. To read the full article, click here.
Marlene Halser has written a review of Virtual Normality – Women Net Artists 2.0 at Museum der bildenden Künste Leipzig. Curated by Anika Meier and Sabrina Steinek, the show prominently features the works of Molly Soda, Signe Pierce and Arvida Byström. To read Halser’s full review, click here .
i-D Deutschland has reviewed Virtual Normality – Women Net Artists 2.0, an exhibition at Museum der bildenden Künste Leipzig featuring the works of Molly Soda, Signe Pierce and Arvida Bystöm. Click here to read the full article.
Michael Meyns has written a review of Virtual Normality – Women Net Artist’s 2.0, a new group show at Museum der bildenden Künste Leipzig that includes the work of Molly Soda, Signe Pierce and Arvida Byström. The exhibition will run through 8 April. For more information and to read Meyns’s full review in Die Zukunft, click here.
Les Inrockuptibles has reviewed Virtual Normality: Women Net Artists 2.0 at Museum de bildenden Künste Leipzig. The show, curated by Anika Meier and including works by Molly Soda, Signe Pierce and Arvida Byström, will be on view through 8 April 2018. To read the full review, click here.
The Eye of Photography reviews the work of Leah Schrager, one of the artists included alongside Molly Soda and Signe Pierce in Virtual Normality: Women Net Artists 2.0 at MdbK Leipzig. Exploring themes of representation, the author notes that the exhibition “questions the female beauty ideals and gender stereotypes that have become standard in the attention economy of social media.” To read the full write-up, click here.
Signe Pierce has been profiled by French outlet Libération for her involvement in Virtual Normality – Women Net Artist’s 2.0 at Museum der bildenden Künste Leipzig. Pierce is shown alongside contemporaries Molly Soda and Arvida Byström, among others. Describing Pierce’s contribution, the author, Jérémy Piette, writes: “This interactive installation in an intimate room equipped with connected devices gives the visitor the opportunity to meditate on the personal spaces affected by the omnipresence of tools capable of recording our least gestures, plasma lovers who make us ask ourselves: are we really alone?” To read the full article, please click here.
Jan Soldin of Kunstmarkt reviews Virtual Normality – Web Artists 2.0, a new group show at MdbK Leipzig featuring the works of Molly Soda, Arvida Byström and Signe Pierce. Describing the aesthetic tools that the artists employ to achieve their goals, the author writes: “By an exaggerated feminine aesthetic with colors such as pink and purple or by girlishly cute self-portrayals, the Netzkünstlerinnen draw attention to stereotypes. Humor, irony and exaggeration are part of their style repertoire.” To read the full article, click here.
Interview reviews Virtual Normality – Web Artists 2.0: a new group show at MdbK Leipzig featuring works by Signe Pierce and Molly Soda. Describing the emotional impact of the show, the author writes that the works “show how it feels when you stand by yourself.” To read the full review, click here.
Detektor FM has reviewed Virtual Normality – Web Artists 2.0, an exhibition of women net artists curated by Anika Meier at MdbK Leipzig. Included in the exhibition are both Molly Soda and Signe Pierce. The author, Juliane Neubauer, describes a sense of discomfort at being confronted by the deeply personal and somewhat unsettling nature of the work in the show, specifically citing Soda’s Instagram Live performance lip-syncing to a Selena Gomez song. To read the full review, click here.
Mittledeutscher Rundfunk (MDR) features the work of Molly Soda and Signe Pierce in a short review of Virtuality Normality – Web Artists 2.0, a group show at MdbK Leipzig. Curated by Anika Meier, the show explores the contemporary generation of women artists who use new media to explore gender, sexuality and identity in the digital age. Check out MDR’s full feature here.
Leipziger Volkszeitung (LVZ) previews the upcoming exhibition at Museum der bildenden Künste Leipzig, Virtual Normality. Featuring the work of net artists including Signe Pierce, Molly Soda, and Arvida Byström, the show will explore femininity in the digital age. The author writes, “Through the Internet and social media, the debate about sexuality and identity has been rekindled; web artists answer with a hyperfeminine aesthetic.” Click here to read the complete article.
Spiegel author Angela Gruber writes on Virtual Normality, the upcoming group exhibition at Museum der bildenden Künste Leipzig featuring the work of artists Signe Pierce, Molly Soda, and Arvida Byström. Opening 12 January, the show will run until the 8 of April. To read the full feature, click here.
Deutsche Welle reviews Virtual Normality – Women Net Artist’s 2.0, the upcoming group show at Museum der bildenden Künste, Leipzig featuring works by Signe Pierce, Molly Soda, and Arvida Byström among others. Typifying the “Instagram generation,” the artist’s included in the exhibition “use the Internet and social media to reflect on the ideals of female beauty.” The show, opening 12 January, will run until 08 April. Check out the full article here.
Molly Soda is interviewed by Happening Media for her involvement in Kickstarter’s new crowdfunding subscription service for emerging artists, Drip. One of the first artists invited to participate in Drip’s launch, Soda says that the new platform “allows people to connect to you and your “process” or whatever it is you want to put out there in a more intimate way.” Read the full article here.
Anika Meier mentions both Molly Soda and Signe Pierce in her latest article “Es darf sich geärgert werden” for Monopol. Describing the current state of net art and digital feminism, she uses both of the artists as examples of women whose explorations in digital identity blur the boundaries between art and life. Read the full article here.
Molly Soda appears in a new video for Drip, Kickstarter’s recently launched artist subscription service. She discusses how powerful peer support can be, and the impact that hearing positive encouragement has had on her art practice. Watch the full video here.
Molly Soda’s performance at Secret Project Robot, alongside Mutual Benefit and Yowler, is listed by Sophie Weiner of the Village Voice as one of the “best NYC shows” to see this week. For the complete listing, please click here.
Molly Soda has created a new web series for Adolescent called In My Room. In each episode, Soda explores a different topic related to bedrooms: those all-important, practically sacred spaces. In Soda’s case, her bedroom also serves as her studio. To watch “Episode 1: Control,” click here.
Molly Soda will be featured in the inaugural edition of a new web series by long-time PBS program American Masters entitled Inspiring Woman. Including 6 female “innovative powerhouses,” the series showcases exemplary women making radical changes in their fields. Since 1986, American Masters has profiled artists of the likes of Georgia O’Keeffe, Ella Fitzgerald and Maya Angelou, earning 28 Emmy Awards and 72 additional nominations. Molly Soda’s episode will air on December 20 on PBS.org. For more information, click here.
Redhawk Radio profiles “Internet Darling” Molly Soda in anticipation of her 10 November performance alongside Told Slant, Yowler and Marjorie Lee at Oxford’s Kofenya Coffee in Miami. For more information about the performance, and to read the full profile, click here.
Elephant’s Charlotte Jansen visits Molly Soda’s studio and interviews her about her work space, her practice, and the current state of digital affairs and data archiving. Soda says: “Watching the Internet rot and websites turn into graveyards is really pushing me to try and do as much as I can to save things, and if I can’t save them, find ways to rebuild or reimagine them.” Check out the full interview here.
Molly Soda is interviewed by podcast Humor and the Abject about “selfie feminism in hindsight, her recent solo exhibitions […]perceptions of sincerity and honesty in her work, isolation, aesthetic and interface evolutions in social media, how we actively present ourselves for internet audiences, and shitposting.” Listen to the full conversation here.
The Verge reviews Shared, an anthology curated by Molly Soda and Sara Sutterlin that attempts to record Internet art. “It’s really a frustrating age to be in,” Soda says. “There’s a heightened amount of visibility, but at the same time things are really overlooked.” Read the full review here.
Molly Soda is in conversation with KPISS.FM. Listen to the full interview here.
Molly Soda was interviewed by DRØME about her video commission for Italian magazine StaiZitta entitled Hole in My Bucket, 2017. Elaborating on the video’s unusual setting Soda describes “There’s something fantasy-like to be in a nature setting—it’s almost completely false to me in a lot of ways. Especially when you’re recording it and putting it online, you’re saying ‘hey look at me doing this thing outside away from computers but let me show it to you [online].’” Read the full interview here.
Molly Soda was interviewed by Artsy on her current solo show at 315 Gallery in Brooklyn. “ ‘I’m just happy to be here’ presents a multitude of Mollys… Soda taps into a tension familiar with anyone who has ever used the internet: the inevitable discrepancy between the way we’re perceived online …and the way we actually are in real life”, writes Casey Lesser. Read the full article here.
Molly Soda’s solo exhibition ‘I’m just happy to be here’ at Gallery 315 in New York is reported on Artrabbit. The author writes: “In her most recent exhibition Soda brings many of the themes she’s played with in the past a step further, encouraging her patrons to interact with her work in a physical space.” Read the full article here.
Molly Soda was interviewed by Matthew James-Wilson for Forge Art Mag about her artistic practice and identity. “Her pendulum swings from sincere to performative, but never goes outside the realm of honesty. As she continues to navigate the world wide web… she brings to light the human patterns the internet brings out in everyone who uses it”, writes James-Wilson. Read the full interview here.
Molly Soda was interviewed by Rebecca Vorich for Fem Magazine with regards to her exhibition ‘thanks for the add’ and her recently published book ‘Pics or it didn’t happen: Images banned from Instagram’. Soda’s work “is putting the utopian internet to rest and illumination the subtle workings of the corporate influence”, writes Vorich. Read the full interview here.
Molly Soda and Arvida Byström’s book Pics or it didn’t happen is reviewed by Jay Gabler for the Tangential. “Pics or It Didn’t Happen complicates the idea of Instagram — or any other online social network — as a “community”, writes Gabler. Read the full article here .
Molly Soda was interviewed by Widewalls with regards to her latest exhibition “thanks for the add!” at leiminspace in Los Angeles. “It’s a show about my early life online and it deals with this era of sharing things before the social media we know today came up…(it) deals with questions about archiving and with how we put so much faith in the Internet” says Soda. Read the full interview here.
Molly Soda and Arvida Byström were interviewed by Paper magazine about their new book ‘Pics or It Didn’t Happen: Images Banned From Instagram‘. Annie Felix writes “Pics or It Didn’t Happen is a political and historical statement in direct disobedience of corporation-dictated rules… It’s an addition to your coffee table that actually explores the power of the image in our collective memory, and how deleting an image is akin to deleting a piece of history – if there aren’t any pictures, it didn’t happen.” Read the full article here.
Artsy published an article about the book ‘Pics or It Didn’t Happen: Images Banned From Instagram‘ by Arvida Byström and Molly Soda, featuring photographs that have been banned from Instagram. “The book engages in a dialogue around the policies found across social media, which are designed to keep users safe, though have unintentionally censored artistic freedoms.” writes Molly Gottschalk. Read the full article here.
Molly Soda speaks with Nylon about Instagram. Molly Beauchemin notes: “If Instagram is a space where every photo tells a story, even subversive images become part of the narrative.” Read the full article here.
Molly Soda is interviewed in Lonely issue in February 2017 of MASK Magazine. The article “Alone with Molly Soda,” by Randon Rosenbohm, features on ongoing dialogue about the internet and if it does make us more lonely or if brings us closer together. Soda is quoted saying, “A lot of my loneliness is not an act, but it’s also a thing I’m playing with it. Being alone is the only way that I can make the work that I make, because a lot of it is about the things that we do when we’re alone, the way we sort of perform loneliness for other people, and what it means to put it on the internet.” Read the full article here.
Molly Soda and her recent exhibition Comfort Zone at AKG are reviewed on Man Repeller. Hannah Keegan writes: “The chaotic mix of Soda’s digital world is unsettling; even more so is the sense of familiarity that sets in after viewing curated glimpses of her ‘real’ life.” Read the full article here.
Molly Soda is featured the the second issue of Gemini Magazine. Order it now here.
Molly Soda is included in Amuses’s article on “7 Female Artists Turning their Bedrooms into Art”. Soda is quoted saying: “My work is interested in what we do within our private spaces and what happens when we make those spaces public”. Read the full article here.
I-D Vice has named Molly Soda one of the “10 Artists on the Art They Want to See in 2017.” Writer Charlotte Jansen notes “Her second solo exhibition at Annka Kultys gallery in East London, ‘Comfort Zone’, at the end of 2016 featured 18 hours of photobooth footage, as well as new resin sculptures of bedroom clutter and beauty paraphernalia.” Read the full article here.
Molly Soda’s Comfort Zone, second solo exhibition at AKG is featured in Time Out in “Best Art Exhibitions of 2016” by Eddy B Frankel, art editor of Time Out London magazine. The list includes Abstract Expressionism of The Royal Academy of Art, Anselm Kiefer Exhibitionat White Cube, William Eggleston Portraits at the National Portrait Gallery, Animality at Marian Goodman, Yayoi Kusama at Victoria Miro, Robert Rauschenberg at Tate Modern, Zaha Hadidat The Serpentine, Bruce Nauman at BlainSouthern and Jeff Koons at Newport Street Gallery, Donna Huanca at Zabludowicz Collection and The Ethics of Dust at Houses of Parliament. More information can be found here.
Molly Soda talks about her work, art and the Internet with Darcie Wilder at MTV podcasts. Listen to the podcast here.
Vivi Kalliniku interviews Molly Soda about her work, her nudes and what it means to be online. Vivi writes “Her Twitter feed is a piece of performance art. Her YouTube beauty tutorials have an inimitable style and her take on the digital is what everyone should be talking about.” Read the full interview here.
Molly Soda’s Comfort Zone on view at AKG is featured on This is Tomorrow. Read the full article here.
Viollette Collective interviews Molly Soda via Skype. Listen to the full interview here.
Molly Soda was interviewed with regards to her exhibition Comfort Zone at AKG by Spindle magazine. Victoria Pierce writes, ” Comfort Zone brings together the artist’s exploration of how social media, instant messaging and constant online sharing invades and affects our lives today, blurring the lines between our private and public self.” Read the full article here.
Angela Pippo has reviewed Molly Soda Comfort Zone in Curating the Contemporary. She writes: “Molly Soda’s practice responds to the broad preoccupation with the changing of global social dynamics, and for her second solo exhibition at Annka Kultys Gallery, she proposes a new selection of projects by opening the door of her MacBook memory”. Read the full article here.
Iman El Kafrawi reviews Molly Soda’s solo-exhibition Comfort Zone at Annka Kultys Gallery for Artefact Magazine. She writes that Comfort Zone “is a raw, authentic view on the way the public world of social media and the Internet is embedded into our ‘private’ lives, and that we are never alone.” To read the full review, click here.
Molly Soda’s solo show, Comfort Zone, has been reviewed by Blouin ArtInfo’s Amanda Avery. You can find the full article here.