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1. Polly Returns

   Digital contemporary retake of Shelley Lake's eerie video 'Polly gone' (1988). 'Polly Gone' was a critique of the gendered role of the housewife. Although the music is 1980s techno, the eeriness and themes somewhat recalls Chantal Akerman's video 'Saute ma ville' (1968). In 'Polly Returns', the robot has taken a more humane physiognomy, and the relation to the screen has changed. Polly has become an integral part of the screen, and her gendered role has acquired complexity that goes beyond domestic chores. Rolling text instructs her in a very neoliberal way how to be simultaneously a perfect housewife, a politically conscious citizen, a productive worker and a caring mum, among others.

   Artist's statement:

   Maud Ceuterick - 10.07.2020 - 11:06

2. Technologies of Care

   Video art installation critical of the precarious, racialised, and gendered labour going on through the internet, or born-digital.

   Maud Ceuterick - 10.07.2020 - 11:18

3. Digifem

   (Originally published on https://www.kampnagel.de)

   Three days of intensive “digital feminism” featuring talks, video and room installations, workshops and DJ sets by international and Hamburg artists. World premieres and commissioned pieces look to pasts and futures, melding and blurring images and sounds – every bit as analogue as digital. Are we already “slaves to the algorithm” or can we find ways to escape the digital reproduction of inequalities? Representatives of the queer-feminist avant garde provide diverse approaches to and perspectives on these mediated worlds, local reference points and global echo chambers. Bots can lie but bits don’t bite!

   Digifem is funded by Elbkulturfonds and within the framework of the Alliance International Production Houses supported by the Commissioner for Culture and Media. 

   Maud Ceuterick - 10.07.2020 - 12:45