gender inequality

Description (in English)

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

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"- What are the benefits of presenting yourself as a male freelancer?

- I work in academia, I am no stranger to the wage gap and heteronormativity in our society. I am sure that women make less than their male counterparts for the same work and I am also Latin American. Being a Latino woman makes me more prone to receiving less for the same hard work

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I have seen a difference between presenting oneself as a man in contrast with my daughter who presents herself as a woman: she does the same work and gets hired significantly less. She also has to use milder language and say 'please' and 'sorry' a lot more or she would come across as too bossy and difficult to work with." (Worker 1)

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Giardina Papa portrays workers who offer digital micro-services, fetish work or emotional support online, and gives them a voice. In Technologies of Care, we meet seven digital workers: an ASMR (Autonomous Sensory Meridian Response) artist, a virtual boyfriend, an online dating coach, a storyteller and video performer, a social media fan, a scientist working simultaneously as fingernail designer, and a customer service representative. Papa has found these freelancers in Brazil, Greece, the Philippines, Venezuela and the USA, where they offer their services anonymously via online platforms, which make a profit from them. With the exception of the virtual boyfriend, all in- terviews are interpreted by female-sounding voices. While the transcripts read like ethnographic research texts, the interviews in the video function like chamber plays on unfettered digital neoliberalism. (IA)

Technologies of Care​ documents new ways in which service and affective labor are being outsourced via internet platforms, exploring topics such as empathy, precarity, and immaterial labor.The video visualizes the invisible workforce of online caregivers. The workers interviewed in "Technologies of Care" ​include an ASMR artist, an online dating coach, a fetish video performer and fairytale author, a social media fan-for-hire, a nail wrap designer, and a customer service operator. Based in Brazil, Greece, the Philippines, Venezuela, and the United States, they work as anonymous freelancers, connected via third-party companies to customers around the globe. Through a variety of websites and apps, they provide clients with customized goods and experiences, erotic stimulation, companionship, and emotional support.The stories collected in ​Technologies of Care include those of non-human caregivers as well. One of its seven episodes, ​Worker 7 - Bot? Virtual Boyfriend/Girlfriend​, documents the artist's three-month-long “affair” with an interactive chatbot.

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Description (in English)

Critical sarcastic reflection on the male domination of the digital media industry

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This video celebrates Silicon Valley and the founders of successful com- panies, platforms and blogs such as Microsoft (Bill Gates), Apple (Steve Jobs), Google (Larry Page & Sergey Brin), Facebook (Mark Zuckerberg), Twitter (Nick Dorsey), Megaupload (Kim Dotcom), Skype (Niklas Zennström & Janus Friis), Buzzfeed (Jonah Peretti), Tumblr (David Karp & Marco Arment), Vimeo (Jakob Lodwick) and others. Advertising slogans such as ‘Hot Creations’ or ‘The Best Selection’, a post-Internet aesthetic and cheesy soundtracks (including ‘Boys of Paradise’ by Unicorn Kid) turn this video into an amusing and simultaneously caustic inventory, evidencing that the brave new world of media is dominated by male protagonists. According

to a study by the American Association of University Women, in 2013 merely 26% of professional computer scientists were women – 9% less than in 1990. Women are even less represented in the field of Artificial Intelligence (AI), which is arguably the most disruptive technology since the advent of the Internet. (IA)

Description (in English)

Reflects on the flâneuse, the agency that women take as they walk alone at night.

Pull Quotes

"...darkness is as protective as she is possessive. She wraps her arms tightly around our bodies, shielding us from the others' gaze, we become indistinguishable from each other and might even hide within a crowd. But darkness extends the same protective impulse towards the others as well, can we recognise then who poses a threat to us?"

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In this audio-walk, participants accompany a female protagonist through a park area at dusk. She embodies the spirit of fictional and real women who claimed their freedom to wander, thus challenging the restrictions and conventions of their culture and time. The audio piece mixes narrative, text excerpts, music and field recordings. The sun sets while the participant walks, bringing out other qualities of this environment.

“Refusing to be the object of anyone’s gaze, she decides to walk into the park at the fall of night. Directly within the city, yet isolated from its busy streets. She enters this space with the intention of becoming completely invisible, merging with the surroundings in a strange half-absence of the body.”

Description (in English)

In her audiowalk (supported by photographs), Janet Cardiff sometimes reflects on how it is considered 'dangerous' for a woman to walk alone in the park, especially at night. As she record memories, she also evokes women's and men's sexuality, and sexual abuse.

Pull Quotes

"I remember dancing with a young business man from the Mid-West, and then him taking me to his hotel room so he could show me his vibrator bed. He showed me his bed, then he walked me back to my hotel. That was all. I guess he was pretty disappointed. I cannot believe how naive I was" (9:17 track 1)

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(Originally published on the Public Art Fund website)

Janet Cardiff’s Her Long Black Hair is a 35-minute journey that begins at Central Park South and transforms an everyday stroll in the park into an absorbing psychological experience. Cardiff (b.1957, Brussels, Canada) takes each listener on a winding journey through Central Park’s 19th-century pathways, retracing the footsteps of an enigmatic dark-haired woman. Relayed in a quasi-narrative style, Her Long Black Hair is a complex investigation of location, time, sound, and physicality, interweaving stream-of-consciousness observations with fact and fiction, local history, opera and gospel music, and other atmospheric and cultural elements.

The experience of the walk uses photographs to reflect upon the relationship between images and notions of possession, loss, history, and beauty. The original iteration of the project in 2004 included an audio kit that contained a CD player with headphones as well as a packet of photographs.

Digitized supporting materials for Her Long Black Hair are now available! The artist intends for visitors to listen to the audio tracks while observing the images in the gallery below. We recommend following the directions on the map below and printing the images or opening them on your mobile device while you’re in the park.

As Cardiff’s voice on the audio soundtrack guides listeners through the park, they are occasionally prompted to pull out and view one of the photographs. These images link the speaker and the listener within their shared physical surroundings of Central Park.

Materials provided with the permission of Janet Cardiff and George Bures Miller, with special thanks to Dan Phiffer.

Description (in English)

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

"#GlitchGoddess was originally born out of my #Arthack project on Instagram, which I started in 2016. In my practice I use glitch as a digital aesthetic, technological phenomenon, and as a way in which the digital is transforming and changing the physical. So “she is glitching” is defying the existing concepts of the female shape in art, as she is animated between slender, heavy, young, old, pregnant, curvy, stylized and also abstract, as a contemporary and digital approach to the representation of the female form. Her first hack appearance was in my Frieze London with Kavanaugh hack. I used her in my Art Basel Miami 2018 #arthack, with voices of artists like Joan Semel and Faith Ringgold from a documentary on inequality in the art world, and then it went viral with over 3 million views and 53k shares on my Public Facebook Page, and millions of other views on other art channels." (Marjan Moghaddam, in https://artspiel.org/marjan-moghaddam-pioneering-humanity-in-a-digital-…)

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"Glitched Goddesses With Portrait of Picasso @ArtBasel Miami 2018", #Arthack by #MarjanMoghaddam, posted on 12/9/18. Videos taken from @galerievivendi and Ingrid De Granier. Music by @beatsbyleet, voices: Jillian Mayer, Todd Levin, Lynn Hershman Leeson, Joan Semel, Faith Ringgold, Barbara Zucker from From Melissa Art Basel Takeover on You Tube and Gucci Artists for Gender Equality, You Tube. #ArtBasel #ArtBaselMiami #Scope #ScopeArtFair #DesignMiami #UntitledArtFair #ArtFair #GlitchedGoddess #NetArt #DigitalArt #PostInternetArt #DigitalSculpture #ChronometricSculpture #3d #Animation #3dCG #Mocap #Glitch #Feminist #AR #MR #VR #Lightwave3d #OctaneRender #Octane Made in #brooklyn #artist

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Description (in English)

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

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From Instag"Kavanaugh Haunted my Frieze London 2018 #Arthack" by Marjan Moghaddam, #arthack #digitalbodies during #FriezeLondon 2018. 10/6/18. Music by @beatsbyleet Videos taken from: @mqtfas @anartistsinfo @hannahpierce_hp @dagmar144 and @washingtonpost friezeweek #friezelondon #Frieze #friezeArtWeek #Kavanaugh #Metoo #digitalart #PostInernetArt #ConceptualArt #Glitch #ChronometricSculpture #DataBending #jvasurvey @paulacoopergallery #lizglynn #art #artfair #artexhibition #3dCG #Animation #mocap #mixedreality #AR #VR #Lightwave3d #Octane #OctaneRender #brooklyn #artist

Description (in English)

aimisola.net/hymiwo.po: a poemtrack for a yet-to-be-written dance piece departs from material produced by AIMISOLA, in respect to the project “voices of immigrant women,” and further research developed by Álvaro Seiça & Sindre Sørensen on immigration, Spanish immigration policies, cultural, social and political issues in Spain. The first-person poem addresses immigrant women in long-term unemployment living in Spain, and the social, professional, linguistic, and educational obstacles that they face. The poem intends to be a possible account and denouncement of immigration, migration, and dislocation aspects, in a broader global scope, though more specifically, in the European context: rootlessness, social and personal hopes, women’s rights, social, gender and sexual inequality and aggression.The poem starts with an onscreen display of keywords used to write the poem, some of which are hash-tagged. As the poem unfolds onscreen, displaying a fixed line at a set temporal interval, these recurrent keywords scrape real-time tweets. The resulting display is a poetic mash-up of collective text, composed of background and foreground. The combined text can act as textual and visual texture, or active multimodal reading. However, it functions as a timely snapshot of a certain collective consciousness or, perhaps better, it provides an update debate on topics related to the poem that are happening as collective discourse in social media.The coding mechanics create tensions by juxtaposing a fixed (non-)poetic text with an ever-changing social(-poetic) text, which might be further complicated by the way certain tweets contradict or amplify the lines, or even when the audience participates by inputting tweets as the poem is live performed. Furthermore, interactivity is keyboard-driven. Arrow keys control line display and the avatar (“silence”) progression, as well as a visual representation of duration. The reading progression through the language game questions modes and functions of reading, and roles and boundaries between viewer, reader, user, and player. The “intermezzo” game acts as a scene, or “poemscreen,” using the BSoD as glitch source. An error display screen, the side-scroll game thus critically dialogues with game mechanics, OS errors and factual ocean traversals in the Mediterranean Sea. The very act of reading/living continues only if the reader/player traverses the poemscreen.aimisola.net/hymiwo.po was originally written in Portuguese and translated into Spanish and English. The soundtrack is “Lighthouse” (2011), by the Swedish jazz band Tonbruket.Start work at http://aimisola.net/hymiwo.po 

(Source: Author's Website)

"Voices of Immigrant Women" is a digital project in which AIMISOLA project's members have developed digital poems written for the Web, based on the experiences of immigrant women in long-­term unemployment living in Spain. Their testimonies have been recorded as sound files, images, and videos. The work has been done in Portuguese, Spanish and English language.

This work was shortlisted for the New Media Writing Prize in 2016: http://newmediawritingprize.co.uk/past-winners/2016-shortlist/

(Source: Nina Kovolic)

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