On video monitors, wind-up children’s toys made of plastic and plush clatter across the screen, accompanied by the tinny sounds of a music box or bell. These are trained, self-revolving performers that form an orchestra with an unpredictable outcome. Their simple movements repeat in loops—endless cycles of motion that are monotonous yet compelling. The cuteness of the toys gradually dissolves into the drama of manipulated, stagnant desire. The innocent sounds swell into an eerie cacophony that gets under the skin. The banal turns into the threatening. And yet, who—or what—is directing this ominous spectacle remains unclear, beyond the frame.

Anna Jermolaewa, born in St. Petersburg and now living in Vienna, first presented her work to an international audience at the 1999 Venice Biennale with her piece “Chicken Triptych”. With a playful, often humorous approach, Jermolaewa’s video works deliver profound analyses of social power structures, interpersonal dynamics, and everyday habits. “Many of my works deal with manipulation,” says the artist. “Who or what is being manipulated almost always remains outside the image. The mechanisms of power that influence or control individuals today are becoming increasingly subtle and invisible.”