Art historian Loes van Beuningen praises Marlot Meyer's LIMB 2.0 as

"Colourful, interactive, Instagrammable"

in her review, commissioned by Beeldende Kunst Nijmegen:

"The colourful installation consists of a web of transparent hoses that suddenly move, that fill balloons with air and make lamps flash, and that send light shocks via electrodes to the visitor who touches a sensor pendulum. Meyer herself is also connected to her Instagrammable work via cables and sensors. She hands herself over to the actions of visitors in the exhibition space or online via the special website, who control the movements in the intriguing installation and thus also her body."

"There is a remarkable contrast between physical life on one hand and the virtual world with the digital media with which we communicate nowadays on the other. Meyer wants to show through the installation that you can feel someone's presence even when they are not in the same space. Meyer explains: Technique is also physical. Data centers, for example, use a lot of electricity and air to cool down the servers. They are forces that you can't see in isolation; you only perceive their effects. For example, you can't see air, but you can feel it. All these invisible forces influence our body. Everything is connected to each other."

Read the full review (in Dutch)

LIMB 2.0 in Expo Bart as a setting for a performance by Stefanie Janssen

Vocal artist, musician and songwriter Stefanie Janssen performing 'Djamila Boupacha' by composer Luigi Nono (1924-1990) amidst the interactive installation LIMB 2.0 by Marlot Meyer in Expo Bart.