GIM girls of the internet museum :)

we're into ~sincerity –about–

[gim-museum]

Hannah Black, 2015.

[gim-museum]

Martine Syms, Notes on Gesture [excerpt], 2015.

[gim-museum]

I think the assumption that post-internet experiences, so to speak, must be perceived through a detached lens is kind of an error because these experiences really do influence people and are formative. They involve intense emotions and not just images on screens. There's very much a material base, we can't forget our bodies and their materiality and responses to codes on the internet: codes of all kinds, image codes, representational, sexual, pornographic, biopolitical.

Andrea Crespo in interview with Hannah Black. Rhizome Artist Profile: Andrea Crespo, 2014.

[latinocaribbeanartists]

Marilyn Rondón

Latina Seeks Thug, 2014. Performance and multimedia.

I was riding around town with a friend talking about dudes and how all I want in life is a “thug to have a baby with”. After saying it outloud I had the idea of making a craigslist ad, seeking this so called “prince charming”. The ad was up for 17 hours and I received 101 emails. In this installation, I used the room as my “inbox” and printed the emails I received. All of the Images used in the room are the spreads to the Latina Seeks Thug Zine. The piece is about communication. 

[x]

[blackcontemporaryart]

Juliana Huxtable UNTITLED (FOR STEWART), 2012

[gim-museum]

Paula Nacif, 92%water, 6%sugar, 2%angelBb, 2015.

[gim-museum]

Sondra Perry, imakelandartnow.com, 2015.

[gim-museum]

The elements of polyphonics and polyvalence are important here because I’m not interested in perpetuating a notion of queerness predicated upon binary thinking. My organization of this exhibition and selection of these artists was influenced by my interest in many feminist theorists that have called for a disavowal of the kind of patriarchal thinking sci-fi often entrenches and a de-essentializing of sex and gender dyads that also manifest in additional forms of black-and-white or binary thinking-which we see in science fiction as utopia/dystopia, self/other, civilized/primitive oppositionalities. I believe that the work of the artists in Les Oracles demonstrates the possibility of speaking polyvalently or in flipped grammars, of embracing the aesthetics of failure and disorder, of the positive representation of female subjectivity & desire, and of speaking wishfully or informatively about the future without invoking oppressive models of authoritative pronouncement.

Marisa Olson, “XPO Gallery presents ‘Les Oracles’”, by Jeppe Ugelvig in Dis Magazine, 2015.

[gim-museum]

E. Jane,  “E. The Avatar” Design Objects Commercial No.1, 2015.

[gim-museum]

Alli Coates & Signe Pierce, American Reflexxx, 2013.

[bravenewwhat]

[gim-museum]

Jesse Darling, Recuperation 2009-2013, 2013.

[gim-museum]

Sandra Mujinga, On Top of the World Looking Over the Edge, 2013.

[gim-museum]

De-familiarization is a sobering process by which the knowing subject evolves from the normative vision of the self he or she had become accustomed to. The frame of reference becomes the open-ended, interrelational, multi-sexed, and trans-species flows of becoming by interaction with multiple others. A subject thus constituted explodes the boundaries of humanism at skin level."

 Rosie Braidotti in New Materialism: Interviews & Cartographies, 2012.

[gim-museum]

VNS Matrix, mid-1990s.

[gim-museum]

Rafia Santana, from The Black Power Series, 2014. More info here.

[gim-museum]

Patricia Alvarado, I'm In It (I mean, if sweet and sour sauce is really all you need...), 2013.

[gim-museum]

Nandi Loaf, Nandi Loaf Drawing Bart Simpson, 2013.