Mixing/Mutating. With a strategically vague Call for Submissions, TSV attempted to cast the net as widely as possible for this programme. Over the course our highly successful Cultural Engineers series it seemed that every speaker would eventually turn to the particularly titillating and foreboding idea that new technology is leading us to a new sexuality.
Genesis P-Orridge (the man who coined the term “cultural engineer”) was emphatic that the increasing prevalence of cosmetic surgery and adornment was actually leading us back to the sacred states of androgyny revered by pre-Christian cultures – cults of divine beings that were neither male, nor female; a body more suited to the mind that drives it. Arthur and Marilouise Kroker were equally fascinated by the ability of 21st century Western youth to reclaim their bodies in a largely digital world through piercing, tattooing, and scarification. Whether or not these were cunning survival techniques or screams for help still remains to be seen. Finally, the corollary came from Floria Sigismondi who had set to work on a sculptural series of creatures that were sexually ‘augmented’ in the most delicious and ghastly ways. Even the more curmudgeonly modernists in the crowd tend to agree that, if nothing else, technology is at least leading us to a new way of perceiving sexuality.
The artists selected for this programme were specially chosen by the jury for their conceptual use of technology in framing (or freeing) aspects of human sexuality with the tools at hand: Trinity Square Video’s digital cameras and our Final Cut Pro edit suite.
Programmed in 2001.
- Organised by: Scott Treleaven