Timur Si-Qin belongs to a generation of new media artists often labeled “post-internet,” who take our global, digital, and image-saturated world as a starting point for their work. Himself a product of many cultures—the Berlin-based artist of German and Mongolian-Chinese heritage grew up in Beijing and America, Si-Qin uses commercial imagery and products to expose the feedback loop between visual culture and human life. His series Premier Machine Funerary memorialises human evolution with 3D-printed replicas of protohuman bones resting in environments of advertising imagery. If, as the artist states, “technology and culture are as much a product of nature as seashells and termite mounds,” his work seems to suggest that even superficial tropes in advertising relate to biological needs and desires.