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  1. Her Body #arthack at #FriezeLondon 2019

    Part of the #GlitchedGoddess and #arthack series of the artist. Comment on gendered representation and body shapes.

    "Stemming from an #ArtHack Instagram project which the artist initiated in 2016 to disrupt and democratize the exhibition space, her glitch aesthetic permeates the oscillating female forms depicted in her Glitched Goddesses series." (ANTE Mag: https://antemag.com/2019/03/16/augmented-humanism-the-artwork-of-marjan-...)

    Maud Ceuterick - 08.07.2020 - 12:24

  2. Kavanaugh Haunted my Frieze London 2018 #Arthack

    Critical comment on the nomination of Brett Kavanaugh at the U.S. Supreme Court by Donald Trump, in the wake of the #metoo movement. Part of the artist's #arthacks and #GlitchGoddess series

    Maud Ceuterick - 08.07.2020 - 13:19

  3. Hacking Sarah Lucas with Hilma af Klint and @matieresfecales foot from Instagram

    Hacking Sarah Lucas with Hilma af Klint and @matieresfecales foot from Instagram

    Maud Ceuterick - 08.07.2020 - 13:32

  4. Glitched Goddesses With Portrait of Picasso @ArtBasel Miami 2018

    Reflections on gender inequality within the cultural world. Glitch Goddess.

    Maud Ceuterick - 08.07.2020 - 16:29

  5. Cmptr grrrlz

    The exhibition is dedicated to Nathalie Magnan (1956-2016).

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    The exhibition Cmptr Grrrlz brings together more than 20 international artistic positions that negotiate the complex relationship between gender and technology in past and present. Computer Grlz deals with the link between women and technology from the first human computers to the current revival of technofeminist movements. An illustrated timeline with over 200 entries covers these developments from the 18th century to the present. Invited are artists, hackers, makers and researchers who are working on how to think differently about technology: by questioning the gender bias in big data and Artificial Intelligence, promoting an open and diversified Internet, and designing utopian technologies.

    Computer Grrrls is an exhibition by HMKV (Hartware MedienKunstVerein), Dortmund (DE), in coproduction with La Gaîté Lyrique, Paris (FR). The participating artists come from 16 countries: Australia, Canada, China, France, Germany, Greece, Iran, Italy, Mexico, the Netherlands, Russia, Switzerland, Turkey, UK, USA, and Yugoslavia/Serbia.

    Maud Ceuterick - 09.07.2020 - 15:36

  6. 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

  7. 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

  8. 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