Beyond the romanticised idea of (m)otherhood, does this “condition” changed with the symbiosis of technology and the artist’s life? What are the stereotypes at play?
Isabella Helms | Ed YoungMi Lamine | recorded: 14 July 2021
The Rise of the Care Machines is a group show dedicated to new media artists who are mothers.
In this group show, ten artists share and question their new “everyday” life as mothers, companions, sisters, and working artists.
The Rise of the Care Machines – Wednesday Kim and Flavia Visconte
- Julie Béna @juliebena
- Catherine Biocca @catherinebiocca
- Ching Ching Cheng @chingchingcheng
- Sofía Córdova @yagrumo_yal
- Julie Grosche @julie_grosche
- Faith Holland @asugarhigh and Hildegard Holland Watter @babyhildy
- Monika Horčicová @monika_horcicova
- Rory Scott @rks_xo
- Flavia Visconte @flaviavisconte
Presented by De:Formal @deformal_
Curator: Wednesday Kim
Co-curator: Flavia Visconte
Mozilla Hubs’ Design by Wednesday Kim
Assistant technician: Sophia Rigg @sophiasometimesriggs
Typefesse by Océane Juvin (Velvetyne Type Foundry)
Excerpts of the exhibition
Flavia Visconte, the egg donor myth (2021) © Courtesy of the artist.
The egg donor myth is the continuation of an investigation that Flavia Visconte started with Deflesh.
In this video essay, she asks herself about the construction of the myth of motherhood and its relationship with salaried and physical work.
Pregnancy is not something that society as a whole tends to question, is the romantic conception of gestational labour while for example, surrogacy is most of the time shown as slavery and cruelty, but in many countries is an entry of money for young women who find in their own reproductive capacity a full paid job.
Group show in Mozilla Hubs, #theriseofthecaremachines (2021) © Courtesy of the artists.
Group show in Mozilla Hubs, #theriseofthecaremachines (2021) © Courtesy of the artists.
Artists’ Porfolio
About the artists
Interdisciplinary artist and a co-founder of De:Formal Online Gallery. She is from Seoul, South Korea, and is currently based out of Alaska. Kim works with a mixture of analogue and digital media including 3D animation, video, performance, installation, print, and sculpture. Her work is informed by personal experiences and human psychology; she derives imagery from nightmares, intrusive thoughts, and childhood trauma. Furthermore, she portrays the absurdity of information-saturated contemporary life in a surrealist fashion through wordplay, Wikipedia, voyeurism, and witticism.
Her work has been shown in El Museo Cultural de Santa Fe (New Mexico, USA), Sarean Cultural Center (Bilbao, Spain), Cultura Lanzarote, (Las Palmas, Spain) Bipolar Gallery, (Leipzig, Germany) PULSE / NEW YORK contemporary art fair (New York,USA), The Dock Arts Centre (Leitrim, Ireland), Medrar For Contemporary Art, (Cairo, Egypt), CADAF (Miami, USA), ArtNightLDN 2019 (Walthamstow venue, London,UK), Museo d’Arte Contemporanea di Roma (Rome, Italy), Mimosa House gallery (London, UK), and more.
Flavia Visconte’s works merge video essays, video installations and photography.
Her investigation focuses on the posthuman condition from a glance influenced by the internet and digital culture. She seeks to reflect the influence of techno-patriarchy in body technologies and in the creation of sexualized devices that contribute to increasing the perception of women as objects.
In her recent work, she researches the impact of reproductive technologies and how they become a battleground for interaction between gender, technology and power structures.
She currently coordinates Acéfala Web Residency, an online residency for visual artists organized by Acéfala Galería in Buenos Aires. This residency increases the possibility of experimenting with digital technologies and exploring the singularities of web-based exhibitions as site-specific events.
Her works have been exhibited in numerous group exhibitions and festivals, in Buenos Aires, Miami, New York and London.
She lives and works in Buenos Aires, Argentina.
