Curator
Curator
DP-1 playlist, version 1.1.0. 11 items: VNS Matrix, Linda Dement, Prema Murthy, Shu Lea Cheang, Skawennati, Mary Maggic, Cornelia Sollfrank, Morehshin Allahyari, Danielle Brathwaite-Shirley.
Scan the code with a Feral File Toko, an FF1, the app or ff-cli to play this playlist, or copy the link and open it there.
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"text": "VNS MATRIX is an artist collective founded in Adelaide, Australia, in 1991, by Josephine Starrs, Julianne Pierce, Francesca da Rimini, and Virginia Barratt. Taking their point of departure in a sexualised and socially provocative relationship between women and technology, their works subversively question discourses of domination and control in the expanding cyber space. They are credited as being the first artists to use the term cyberfeminism and are generally regarded as the founders of the international cyberfeminist movement, alongside their highly influential 1992 text and artwork “A Cyberfeminist Manifesto for the 21st Century.”\nDuring the 1990s, VNS Matrix was invited to exhibit internationally. Australian galleries also recognized the work of VNS Matrix with exhibitions at Experimental Art Foundation (1993), Artspace Sydney (1994), Australian Center for Contemporary Art Melbourne (1995) and more. The work of VNS Matrix has been written about extensively in Art+Text, Wired, Flash Art, and Artlink, among many others. They are studied in universities across the world and are written about in scholarly, art, and popular culture publications.\nIn 2016, VNS Matrix celebrated their 25th anniversary with the performance of a new text, “A Tender Hex for the Anthropocene.” Since this milestone their work has continued to be exhibited at museums and galleries, including Rhizome at New Museum New York, Institute of Contemporary Art London, and Migros Gallery Zurich, among many others."
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"description": "Contested Zone (1993) by VNS Matrix is a digital image created for the 1993 project ALL NEW GEN. Part artwork, part computer game, ALL NEW GEN was released as a CD-ROM and distributed widely in Australia and internationally. The CD-ROM was also exhibited as the centerpiece of the ALL NEW GEN installation with lighboxes, soundworks, photography, sculptural elements, video and a Bonding Booth for pleasurable distraction.\nJoin the cyber warrior All New Gen and the renegade tribes of the Contested Zone to sabotage the databanks of Big Daddy Mainframe and launch the New World Disorder. Enter the Contested Zone, a labyrinth of bizarre and mysterious cyberworlds, where the future is now, and Big Daddy Mainframe is in control. Manipulating the minds of the online masses through his nasty neural nets, BDM is expanding his transplanetary empire and nothing will get in his way. But resistance is not futile! All New Gen, an omnipresent being (computer virus, bio simsystem, intelligent mist) is on a mission with the renegade tribes to sabotage the info core of the insidious data dictator. All New Gen is assisted on her mission by the DNA Sluts, a band of renegade Sheroes; along with ferals, data deviants, cortex crones and code warriors.\nFor more context, please visit: https://vnsmatrix.net/projects/all-new-gen",
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"description": "“Cyberflesh Girlmonster” (1994) is a macabre comedy of monstrous femininity. At the 1994 Adelaide Festival, 30 women donated body parts by scanning their chosen flesh and digitally recording sound. From these, conglomerate bodies were created, animated, assembled, and made interactive along with audio, biochemistry information, stories of aberrance, revenge, lust, and grief. From these original scans and monsters, Linda Dement creates “Cyberflesh Girlmonster — 4 Recuperated Stills,” (2022) reconfigured here as a special edition.",
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"text": "Prema Murthy (she, her) is an American artist based in New York. Her work includes painting, video, digital media, and installation. Employing line, form, geometry, and algorithmic processes, she examines the intersection of embodiment and abstraction. She received a BA in art history and women’s studies from the University of Texas, Austin and an MFA from Goldsmiths College, London. She has exhibited in numerous shows including PS1/MoMA Contemporary Art Center, the Whitney Museum of American Art, the Generali Foundation-Vienna, among others. She is the co-founder of the artgroup Fakeshop, known for its pioneering large-scale performative installations using live video conferencing technologies. Her work has been written about in the New York Times, Art Asia Pacific Magazine, the Wall Street Journal, and Artforum. Murthy has received numerous awards and commissions including a New York Foundation for the Arts Fellowship, a Creative Capital Grant in Emerging Fields, and an Urban Artists Initiative Grant from the Asian American Arts Alliance, among others. She has taught Digital Art at City College (CUNY) and Sarah Lawrence College, NY."
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"description": "“Bindigrl” (1999) is a seminal net art project in the cyberfeminist movement. It examines the boundaries between the sacred and profane from a postcolonial feminist perspective within a digital framework. From a Rhizome interview, included in the collector’s package, Prema Murthy states, “Bindi is a girl born out of the ‘exotic’ and ‘erotic.’ She is the embodiment of desire for and of the ‘other’ … Bindi is my avatar. Not only is she my alias in the virtual world but a play on the word which in India means an incarnation of a Hindu deity, the embodiment of … the ‘goddess/whore’ archetype which has historically been used to simplify the identity of women and their roles of power in society. Bindi is neither here nor there but exists in screenal space. She is somewhere between a question and an answer.”\nFor more context, view the archived website on Rhizome Artbase 101 at the New Museum, NYC.",
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"description": "“This is not love. This is sex.” Shu Lea Cheang’s feature-length cyberpunk sci-fi porn film I.K.U. (2000) tells the story of the internet porn enterprise Genom Corporation that dispatches I.K.U. coders to collect “orgasm data,” developing the ability to sell profitable and addictive on-demand orgasms. “I.K.U. is a phenomenon that wants to refuse definition …. As much trans-genre as it is trans-gender, I.K.U. also wants to merge video and film into a fresh digital universe large-scale enough to overwhelm the viewer.” In conjunction with the film release, Cheang created an interactive website called “Expand, an interface” (2001) with stills from I.K.U. Using horizontally expanding and glitching panels to reveal I.K.U. coders such as Reiko or Tokyo Rose, “Expand, an interface” challenges the censorship in cinema versus online. The website is no longer online, and this screen recording was recaptured by Shu Lea Cheang in 2022, alongside stills from the film as well as the interface.",
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"text": "Skawennati (she, her) investigates history, the future, and change from her perspective as an urban Kanien’kehá:ka woman and as a cyberpunk avatar. Considered one of the first indigenous net artists, her early adoption of cyberspace as both a location and a medium for her practice has produced groundbreaking projects such as CyberPowWow and TimeTraveller.™ Her machinimas (movies made in virtual environments), still images, textiles and sculpture have been presented internationally, and they are included in the collections of the National Gallery of Canada and the Thoma Foundation, among others. Recipient of an Honorary Doctorate from the Minneapolis College of Art and Design, she is also a proud member of the Guild of Future Architects and a founding board member of daphne. Skawennati has founded numerous organizations, including Nation to Nation and Aboriginal Territories in Cyberspace, a research-creation based at Concordia University that she currently co-directs. She is represented by ELLEPHANT. Originally from Kahnawà:ke Mohawk Territory, Skawennati resides in Montreal."
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"text": "Mary Maggic (they, them) is a non-binary Chinese-American artist currently based in Vienna, Austria. Their work spans amateur science, public workshopology, performance, installation, documentary film, and speculative fiction. Since 2015, Maggic’s research has centered on hormone biopolitics and environmental toxicity, and how the ethos and methodologies of biohacking can serve to demystify invisible lines of molecular (bio)power. Since completing a Masters from MIT Media Lab, their work has been exhibited internationally including Migros Museum of Contemporary Art and Institute of Contemporary Arts London, among others. In 2017, their project “Open Source Estrogen” was awarded Honorary Mention at Prix Ars Electronica Hybrid Arts, and in 2019 Maggic completed a 10-month Fulbright residency in Yogyakarta, Indonesia exploring the connection between Javanese mysticism and the plastic pollution crisis. Maggic is a current member of the online network Hackteria: Open Source Biological Art, the laboratory theater collective Aliens in Green, and the Asian artist collective Mai Ling Vienna."
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"description": "What if it were possible to synthesize hormones in the kitchen? Imagine if this was as easy and simple as cooking a meal. “Housewives Making Drugs” (2017) is a fictional cooking show by Mary Maggic where the trans-femme stars, Maria and Maria teach the audience at home step-by-step how to cook their own hormones. They perform a simple “urine-hormone extraction recipe” while amusing the audience with their witty back-and-forth banter about body and gender politics, institutional access to hormones, and everything problematic with heteronormativity. Choosing the kitchen as the appropriate battleground for tackling body/gender politics and institutional access, the cooking show aims to challenge/subvert patriarchal society and speculate on a world with greater body sovereignty for all.\nFeaturing: JADE PHOENIX and JADE RENEGADE as “Maria” and “Maria”\nCreated by: MARY MAGGIC, MANGO CHIJO TREE, THE JAYDER\nWritten by: MARY MAGGIC, JADE PHOENIX, JADE RENEGADE\nExtras: AUDREY MERCADO ORTIZ, CHRISTINE WANG, VINCE RABAJA, PHYL ETIENE JOHNSON, MANGO CHIJO TREE as “The Assistant”\nMusic: LEAH ANN MITCHELL\n“Estro-gin Song” by MANGO CHIJO TREE",
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"text": "Mary Maggic (they, them) is a non-binary Chinese-American artist currently based in Vienna, Austria. Their work spans amateur science, public workshopology, performance, installation, documentary film, and speculative fiction. Since 2015, Maggic’s research has centered on hormone biopolitics and environmental toxicity, and how the ethos and methodologies of biohacking can serve to demystify invisible lines of molecular (bio)power. Since completing a Masters from MIT Media Lab, their work has been exhibited internationally including Migros Museum of Contemporary Art and Institute of Contemporary Arts London, among others. In 2017, their project “Open Source Estrogen” was awarded Honorary Mention at Prix Ars Electronica Hybrid Arts, and in 2019 Maggic completed a 10-month Fulbright residency in Yogyakarta, Indonesia exploring the connection between Javanese mysticism and the plastic pollution crisis. Maggic is a current member of the online network Hackteria: Open Source Biological Art, the laboratory theater collective Aliens in Green, and the Asian artist collective Mai Ling Vienna."
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"description": "She Who Sees The Unknown (2021–2022) is a research-based project, which uses 3D modeling, 3D scanning, 3D printing, and storytelling to re-create monstrous female/queer figures of Middle Eastern origin, using the traditions and myths associated with them to explore the catastrophes of colonialism, patriarchism, and environmental degradation in relation to the Middle East. “MAJLIS AL-JINN: Huma,” a chapter of She Who Sees The Unknown, includes a 3D rendering video of Huma, a jinn known in various Middle Eastern tales as a demon who brings heat to the human body and earth. She is pictured as a demon with three heads and one or two tails depending on her illustration in different manuscripts. In addition to this video, the work presented on Feral File includes a selection of Islamic manuscripts and archival materials.",
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"text": "Danielle Brathwaite-Shirley is a Berlin/London-based artist. They received a BA from the Slade School of Fine Art, London in 2019. Brathwaite-Shirley works predominantly in animation, sound, performance, and video game development. Their practice focuses on intertwining lived experience with fiction to imaginatively retell the stories of Black Trans people. Their work has been the subject of solo exhibitions and performances at institutions such as SCAD (2023), Artnight Dundee (2023), Villa Arson, Nice (2023), FACTLiverpool (2022), Project Arts Centre, Ireland (2022), Skänes konstförening, Malmö, Sweden (2022), QUAD, Derby, England (2021), Albright-Knox Art Gallery, Buffalo (2021), Science Gallery, London (2020), and MU Hybrid Art House, London (2020). Their work has been included in group exhibitions at institutions such as Julia Stoschek Foundation, Berlin (2022); Münchner Kammerspiele, Munich (2019); Les Urbaines, Lausanne (2019); and Barbican, London (2018)."
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"description": "In a time of cancel culture and click bait, Danielle Brathwaite-Shirley wants us to be able to argue again. This type of conflict is a necessary part of communication, to be able to voice our opinions, disagree, and still have empathy for one another. “Social Capital Fights” (2022) is a provocation for raucous disagreements and against the erasure of similitude. The music video speaks of trans people who are in support of having difficult conversations in our increasingly public, online environments, rather than narrowing our social bubbles even more. “Demon babies” populate the music video as mannequin heads covered in a balaclava made of hair, hair tools, and hair accessories, as a way to grapple with Brathwaite-Shirley’s own hair loss; the demons look after her. Brathwaite-Shirley created this work specifically for this exhibition.",
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"description": "“Putins a WASTEMAN” (2022) follows the tradition of diss tracks and rap battles to respond to the Russian Invasion of Ukraine, directed at the egoism of Vladimir Putin. In the music video, a full-length Danielle Brathwaite-Shirley is seen rapping insults on top of a close-up of Putin’s face. Her body “destroys him,” distorting his image as she questions, “What’s he doing this for?” Misusing a rotoscoping technique in AR, Putin wipes into a hazy landscape of cloned figures. “It’s an elaborate transition…,” Brathwaite-Shirley explains, “The dissolving of someone, similar to how you dissolve one image to another.” Not only does this transition away from images that he produces of himself, it suggests a transition in and out of office. The artist often finds the breaking points of tools, intentionally embellishing and embracing the “mistakes” in order to see how far the glitch will go. Brathwaite-Shirley created this work specifically for this exhibition.",
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"text": "Mindy Seu is a designer and researcher. She holds an M.Des with Distinction from Harvard’s Graduate School of Design with a focus in technology, and a B.A. in Design Media Arts from University of California, Los Angeles. As a fellow at the Harvard Law School’s Berkman Klein Center for the Internet & Society, she began the digital Cyberfeminism Index, which was later commissioned by Rhizome and presented at the New Museum. The printed publication Cyberfeminism Index is a 2021 recipient of the Graham Foundation Grant and will be published in Fall 2022. Seu has been an Internet Archive Fellow, Pioneer Works Technology Resident, and MacDowell Colony Resident, as well as a designer for 2×4’s Interactive Media team and the Museum of Modern Art’s in-house design studio. She has lectured internationally at cultural institutions like the Barbican Centre and New Museum, and academic institutions such as Columbia University, MIT (Massachusetts Institute of Technology), and ZHdK (Zürcher Hochschule der Künste), among many others. Seu is currently an Assistant Professor at Rutgers Mason Gross School of the Arts and Critic at Yale School of Art."
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