DSR Blur Building,

braincoats as a cybernetic garment


Gucci Fall / Winter

Fashion Show by Alessandro Michele, influenced

by Cyborg Manifesto.

artists of performance, of ephemeral installations, of digital media, of time and duration, of avant-garde film... artists of color, women artists, trans-artists, queer artists, forgotten artists, techno-futurist artists, cyborg-artists.

Adrián Villar Rojas // installation, performance, multi-media

Agnès Varda // film

Ana Mendieta // film, performance

Analivia Cordeiro // performance, choreography

Aura Rosenberg // photography

Carolee Schneeman // film, performance

Chantal Akerman // film

Cindy Sherman // photography, performance

Coco Fusco // performance, film, multi-media

Emma Haugh // performance, installation

Femke Huurdeman // film

Fujiko Nakaya // installation, performance, multi-media

Guan Xiao // film, sculpture

Hito Steyerl // film, multi-media

James Luna // performance

Jen Luna // installation, multi-media

Juliana Huxtable // DJ, poetry, visual art

Julie Weitz // film

Kahil Joseph // film, music video

KellyXi // multi-media

Kevin Aviance // performance (drag)

Kieron Jina // choreography, performance

Maria Evelia Marmolego // performance

Mariah Garnett

Marina Abramovic // performance

Martha Graham // choreography

Martha Rosler // film

Mary Wigman // choreography, performance

Maya Deren // film

Mickalene Thomas

Mona Hatoum // film, installation, multi-media

Mutu Wangechi // performance, visual art, multi-media

Neshat Shirin // film, multi-media

Ntozake Shange poetry, plays

Pipilotti Ristfilm // visual art

Rebecca Horn // film, performance, clothing

Rebecca Belmore // performance

Reina Gossett

Robin Coste Lewis // poet

Sable Elyse Smith

Sadie Benning

Simone Forti // performance, installation

Sondra Perry

Tasha Blank // DJ, sound artist

Trisha Brown // choreography

Vaginal Davis

Valie Export // performance

Wu Tsang // film, multi-media

Xiuhua Yu // poet

Yishay Garbasz

Yoko Ono // performance, visual art

Yvonne Rainer // choreography

FAKA (Fela Gucci and Desire Marea) // performance, collective

Moor Mother (Camae Ayewa) // musician, performance

Postcommodity // collective, performance


Ana Mendieta

Absent Body Exhibition June 1 - November 15, 2018

Why should the body end at the skin? [1] For seven years between 1973 and 1980, the artist Ana Mendieta made several visits to pre-Columbian sites in Mexico, creating a series of works of her body against the landscapes. Despite the physical absence of her body in the photographs and films documented, the index of her silhouette left striking impressions onto the earth. The images evoke figures of divine femininity in Latin mythology. The traces of the Silueta series — including the traces of her body, the indexical trace of the photograph, its trace in contemporary art history — 


The exhibition Absent body examines the presence that Mendieta’s performative, ephemeral works has contributed to the visibility ...



Exiled body — mapping a history of places.


Mendieta was born in 1948 in Havana, Cuba. During... her parents sent her to New York where she lived in foster homes and orphanages. 


The details of Mendieta’s exit from life are unclear and controversial. In 1985, Mendieta died falling from a 3x window in her Greenwich apartment.



Absent is not invisible.


In 1992, during the opening of a major retrospective of Carl Andre, Mendieta’s husband and accused murderer, at the Guggenheim in SoHo, over five-hundred protesters gathered in front of the museum with provocations of “Where is Ana Mendieta?“ ...


Since then, Mendieta’s work has been the subject of 6+ major exhibitions internationally, including at the Hirshorn in D.C., the Whitney in New York and the ...


In the space of the Internet, multiple bodies (or alter egos) exist. The body of an artist, or perhaps her body of work, accumulates and multiplies in places such as university library databases and Tumblr re-blogs.

Ana Mendieta... cyborg-goddess?


Haraway’s cyborg-goddess is characterized by a state of liminality, and in-betweeness. For Mendieta, the exile from her home in Cuba ... Simultaneously embodying trauma and transcendence of the body. The memory of violence, both in her personal narrative



[primarily organized by Women’s Action Coalition]

1 A provocation of Donna Haraway in Cyborg Manifesto [1984].


Ana Mendieta: Traces, was organized by the Hayward Gallery, England, in 2013, and travelled to the Museum der Moderne Salzburg, Austria, and the Galerie Rudolfinum, Czech Republic. Ana Mendieta: Earth Body, Sculpture and Performance 1972–1985 was organized by the Hirshhorn Museum and Sculpture Garden, Washington, D.C., in 2005 and traveled to the Whitney Museum of American Art, New York; Des Moines Art Center, Iowa; and Miami Art Museum, Florida.

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“Out of some 2500 films produced from 1896 until 1902, several hundred were travel and scenic films, of which most involved a train or some aspect of the railroad… In a sense, shooting a moving train, the fastest vehicle in the world in 1895, gave filmmakers an opportunity to show off film’s powers of registration, its ability to capture movement and speed.” [19-20]

Parallel Tracks : the Railroad and Silent Cinema Lynn Kirby (experimental artist, and theorist)