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Ben DItto
Dates
2021

“Dates” are a series of characters generated by neural network containing embedded metadata with encoded personalities. Each date is trained using machine learning to have a different character and the owner of the artwork will unlock a unique link to a private Discord server containing the individual bot, with which they can converse. The faces of each date are produced by generative GAN networks and animated using open source AR, their names are drawn from the cultural sources upon which they are trained. Each date is only accessible to the owner of the artwork.

The work explores the space between open-source code and biological data and forsees a near-future when the boundaries between the two are completely erased within a proprietary metaverse, where our characters will be supplemented and augmented by code and the perception of our identity will be malleable by ourselves, corporations and hackers. The work speaks in the vernacular of the sex work economy and is for sale within the growing crypto market, a world of collectibles where ownership of bodies and sexuality can be tokenised, traded, fractionalised and decentralised.

Agata Wieczorek
Second Skin
2019-21

"The recent popularity of images of female masochism expresses not only sexual fantasy, but also refers to women’s position in contemporary culture. Depersonalization is thought to be one of the most radical forms of masochism - it is a denial of independence. In the times of rapid changes and when women negotiate new social positions and build an identity based on „independence”, can the feeling of weakness and powerlessness have an emancipatory dimension? Could objectification on demand gives a sense of liberation from cultural conventions?"

- Zofia Krawiec on Second Skin, fragm.

Second Skin is a photographic series of self-portraits in silicone costumes that imitate female face and body, and that are normally used by men who practice Female Masking fetish.

Jacolby Satterwhite
Antonio

Jacolby Satterwhite
Avenue B Production Stills

Signe Pierce
WEAPONS OF MASS SEDUCTION
2021

‘BIG SISTER HEEL STOMPS BIG BROTHER IN THE LIMINAL SPACE OF POST-REALITY HARDCORE EPIC EDGE CUCK DATA DOMINATRIX BITCH IN THE MATRIX HIGH FEMMEDOM CRUSH FUCKING BIG DATA SEIZE THE MEANS OF DESTRUCTION WEAPONS OF MASS SEDUCTION TECHNO LUST DOOM FETISH SLEAZE TREASON DEVIL-ANGEL-GOD POLARITIES IN TECHNO SINGULARITY SADISTIC GLAMOUR GIRL DOMINATES TECHNOCRATIC SURVEILLANCE STATE TOTAL PUNISHMENT NO REMORSE ABJECT DISCIPLINE REFLEXXXIVE ACTION GLITCH SURVEILLANCE HORNY SLUT 4 ALGORITHMIC OPPRESSION REVENGE PORN DIABOLICAL MONETIZATION CRYPTO PONZI SCREAMS ON SCREEN DISSONANCE GRAPHIC OBSCENITY PLAY ENERGETIC ROLE REVERSAL BREAK THE SIMULATRIX’

- Signe Pierce

RaFia Santana
Hoist
2021
Animated GIF (58 frames)
1280 x 720 pixels

Hoist is a psychedelic breathing selfie of the artist hoisting up their breasts. RaFia Santana makes loops to soothe and relax herself.

E. Jane
You are a light on the dancefloor! Beautiful!
2021
Cellphone footage and sound
Approx 7 minutes

“The video manipulates footage from a pre-covid Lower East Side performance at Mehanata Bulgarian Bar for the party Unseelie that was very important to me, mostly because it was such a great night and now that space is closed permanently and the way we operated inside that club is no more, even one person I saw there passed during covid...so this footage feels really special now, my friend and peer RaFia and the party Unseelie took the footage I think. The title comes from a note I was given in the club a few years ago, I see this note as a moment when someone saw MHYSA in the club and gazed with loving eyes that see her the way I want her to be seen. I traced the note to make the title card. This footage also expresses MHYSA in this ideal way and is another moment when onlookers looked lovingly. I see this work as an experimental video essay about this loving gaze on the diva, and me embodying the underground diva performance, in a really pure way. I love that the club had poles and that I felt safe and free to play with them, safe in a queer club context from certain gazes while consenting to a queer sexual gaze.

The sound uses audio from the footage but manipulates it allowing MHYSA's voice to fade in and out of audibility. I'm wary about how MHYSA comes up in my object-based work or appears in a gallery context. This is my first work explicitly for the gallery where MHYSA's singing voice appears at all in opposition to my Lavendra/recovery (2015-) videos where she is joyfully singing offkey or official music videos which are primarily made to promote her music. This manipulation of the voice is about a feeling of agency and autonomy as a performer, outside of audience desire. We are deeply concerned with the history of MHYSA's body operating in music spaces and how often Black women and femmes are not seen as inherently in control of their body in pop and how that translates into underground music. I like that the footage is very dark and grainy and sometimes MHYSA is only a silhouette, moments where it's less about the visibility of her as a singular being but more about how her body is acting out certain gestures onstage. These gestures have been slowed down, so instead of video at times, it feels like a moving portrait.”

- E. Jane

About MHYSA:
Since 2015, Jane has been developing the performance persona MHYSA, an underground pop star. MHYSA operates in Jane’s Lavendra/Recovery (2015-)--an iterative multimedia installation--and out in the world. Jane considers this project a total work of art--or Gesamtkunstwerk--that honors and examines the life of the Black diva and of Black femmes in popular culture. In 2018, MHYSA followed her critically acclaimed debut, fantasii, with a live EU/US tour. Highlight performances include the ICA and Cafe OTO in London and Rewire in The Hague. Her second album NEVAEH came out in February 2020 on Hyperdub records in London.

Angela Washko
The Infamous Goldshire Inn on Moon Guard Server in 2014
2014
The World of Warcraft Psychogeographical Association
Digital Image Series


“In 2014, I accidentally stumbled into the infamous Lion's Pride Inn (also known as Goldshire Inn) while leveling a new character on the Moon Guard server. I had been trying to find a server with a substantial LGBTQ+ presence (as the server I played on was incredibly homophobic and misogynistic), and a player had recommended the Alliance faction on Moon Guard server. An early leveling quest took me into an inn which changed my relationship to World of Warcraft forever. For the entire time I played World of Warcraft, women were scarce. And because of our scarcity, when a male player would somehow realize that I was an actual living breathing woman behind the keyboard, our play dynamic would change. Maybe we had been questing together or in a party trying to complete a dungeon...but as soon as that player realized I was not just playing a female-bodied avatar and that I was a "real woman," I would often be aggressively offered gold, high level equipment, and other gifts in exchange for erotic role play or asked to get onto Skype and have video sex. These interactions would occur completely out of context and made it all the more obvious why so many women felt uncomfortable in World of Warcraft. These attempts to solicit online sexual exchanges might start with a request, but rejecting these advances would frequently result in a flood of unwanted whispers from these male players with descriptions about what their avatars were doing to me - descriptions of sex acts I had not consented to.

What I loved about finding the Goldshire Inn - was that it felt like I had stumbled upon an erotic role play sex club where the people who were there wanted to enjoy sexual role play inside the visual and design limitations of World of Warcraft with each other. Players were open about their desires and able to find players who were mutually interested. Consent seemed to be informally embedded into the codes for participation in the events of the Goldshire Inn. This is a series of images from some of my visits to the Goldshire Inn after I became a regular visitor in my project The World of Warcraft Psychogeographical Association. Through The World of Warcraft Psychogeographical Association, I explored the landscape in World of Warcraft in a site-responsive way, ignoring the game’s quests and creating new games and performances inside the virtual environment with other players.

These images are shared in this exhibition for the first time.”

- Angela Washko

Emma Stern
Troll Morphologique
2021

From Animorphs #5, "The Predator" page 34:
“Well, I'm guessing that in about two centuries or so, humans will discover zero space and make transponders. Whatever they are. But in the meantime, I'm going to have a sandwich."
Animorphs #5, "The Predator" page 34:
― K.A. Applegate

Ivana Bašić
Hypostasis ‡
2013 - 2021

Hypostasis ‡ (2021) is a part of the ongoing project SOMA (2013-), which is included in the Whitney Museum's permanent collection. With SOMA, Bašić created an exact 3D-model / digital replica of her body with the intention of selling the model with no limitation of its use. The digital bodies sold in online markets for use in advertisement, animation, and 3D-porn, are usually not linked to living people. By making her own body available for purchase with no control over its uses, Bašić simultaneously gives up control of her body image and initiates her body into a process of limitless transformation and multiplication - not bound by matter.

In Hypostasis ‡ (2021), the central abstract form is simultaneously referencing a sarcophagus and an insect's chrysalis - both of which are transitional structures that enable the reconfiguration of bodies into new substances and new natures. The digital body seen emerging out of the sarcophagus-like form, is both the bi-product of transformation into the technological condition but also an instance of corporeal reduction and dematerialisation, which Bašić utilises in her practice as methods of insurgence against the material order and its limitations.