The work of Eline Benjaminsen (Norway, 1992) explores processes of power that shape our attitudes, habits and individual possibilities, but that yet exists outside of our physical environments. By focusing on the strictly physical – that which can be photographed, her work investigates the relation between the material and the immaterial, with the aim to confront the viewers with the limit of their own vision.
Her photography has been featured in Migrant Journal, the Dutch Financial Daily and the international photo festival BredaPhoto. She graduated from The Royal Academy of Art in The Hague in July 2017 with the project 'Where the money is made' on the infrastructures of algorithmic trading.
|2018||Zilveren Camera, Prijs voor Storytelling (2nd Prize)|
|04.02.2018 - 25.03.2018||Canon Zilveren Camera, Museum Hilversum|
|15.02.2018 - 23.02.2018||Hyper.Local., ESAD Valanciennes|
|17.04.2018 - 23.04.2018||My Practice My Politics, Salone del Mobile, Milan|
|14.05.2018 - 04.06.2018||Dockingstation, Amsterdam & Krakow Photomonth|
|29.06.2018 - 29.09.2018||Collaboration with Sophie Dyer, oneacre.online|
|31.10.2018 - 06.01.2019||OpZicht, Stroom Den Haag|
|16.09.2017 - 29.10.2017||Nederlands Fotomuseum, Steenbergen Stipendium|
|11.09.2014 - 26.10.2014||BredaPhoto: Songs from the Heart|
|04.02.2018||Canon Zilveren Camera 2017|
|08.12.2017||Rob Hornstra: "Photobooks of 2017"|
|22.12.2017||Silvy Crespo: "Gordon Gekko et les algorithmes", Viens Voir|
|26.05.2017||Sophie Dyer and Eline Benjaminsen: "Spectral Typographies", Migrant Journal #2: Wired Capital|
|28.01.2017||Joost Dobber, Titus Knegtel and Eline Benjaminsen: "Eiffeltorens voor de flitshandel", Het Financieele Dagblad|
Where the money is made
By the time you have read this sentence, a trading firm will have made around 10.000 trades on the stock market. Welcome to the bizarre world of algrorithmic, automated trading known as high-frequency trading (HFT). Here, profits are made at speeds the human brain can’t comprehend. It asks for a closer look into how value is being processed in the world today.
‘Where the money is made’ aims to bring this invisible and obscure economical power to light by tracing lines of algorithmic capital to the places where some of the greatest profits are made today. Guided by the geometric lines-of-sight between microwave transmitters and receivers, the work documents the physical landscapes of an immaterial market.
The project consists of a series of photographs, a film essay (5:30 minutes) and a publication (48 pages, salmon newsprint). Additionally, an interactive map of algorithmic trading (created by Alexandre Laumonier/Sniper in Mahwah) and a counter indicating the relation between time and distance of HFT, are used in the installation of the work. Weight is put on the possibility of each element (film/photographs/publication) to function both in relation to each other within the context of an exhibition and on their own in the contexts of their respective platforms. This allows the project to make use of a broad spectre of platforms, and the viewer to dive into the topic in depth.