In October - November 2014 Meineche Hansen had a solo exhibition at Cubitt Gallery, London. INSIDER collected works that "reflect[ed] on self-destruction and mutation". In March–May 2016
gasworks London hosted Meineche Hansen's solo show
SECOND SEX WAR. Included in the show was a piece made by Meineche Hansen, Manuela Gernedel, Alan Michael, Georgie Nettell, Oliver Rees, Matthew Richardson, Gili Tal and Lena Tutunjian, called CULTURAL CAPITAL COOPERATIVE OBJECT #1 (2016), which the artists called "an attempt to congeal the group's cultural capital into a cooperatively owned object".
Real Doll Theatre was a solo show at KW, Berlin, in 2018. The show included "collaborative works with filmmaker Therese Henningsen and musicians Asger, and Holger Hartvig, as well as a live set by the London-based Music project
Ectopia of Adam Christensen, Jack Brennan and Viki Steiri". Work by Meineche Hansen was included in the 2019
ArkDes Stockholm iteration of the
Cruising Pavilion: Architecture, Gay Sex and Cruising Culture project, which was initiated at the
Venice Biennale in 2018. ''An Artist's Guide to Stop Being An Artist
was installed at SMK/ National Gallery of Denmark, in 2019.
The show included the "life-sized ball-jointed figure with orifices that were compatible with oral and vaginal inserts made in silicone, which are sold for current sex robots on the market", Difficult to work with?'' (2019).
Chisenhale Gallery hosted Meineche Hansen's solo show
Welcome to End-Used City, displaying existing and newly-commissioned work in 2019. It included the work
Hellmouth (To Madame) (2018), which Flash magazine called a "gendered theological device". Writing in Mousse magazine, India Nielsen notes that Meineche Hansen's work "visualize[s] the invisible, internalized structures of
surveillance capitalism, highlighting the slippery trade-off between desiring something and becoming subject to it". In October–December 2020 Meineche Hansen's solo show
home vs owner was installed at Rodeo gallery, London. == Links ==