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www.grindruberairbnb.exposed, Canadian artist Jonathan Chomko’s performance exploring how apps choreograph bodies, premieres at Tangente Montreal. Responding to the ways popular digital services guide movement, a troupe of participants walk, gesture, and synchronize themselves in response to web app prompts. Staged in private during the pandemic (image, 2020), the performance marks the first time Chomko’s glued-to-their-phone “atomized actors acting as one” pace and pivot in front of an audience.

“Future Bodies,” a group exhibition examining corporeality and femininity in the digital age, opens in Amsterdam. Curator Anne de Jong brings together eight artists including Salomé Chatriot, Auriea Harvey (image: Pelops I, 2022), Lynn Hershman Leeson, Cassie McQuater, and Addie Wagenknecht, presenting positions from different generations. “New media has proven to be a feminist tool for artists to push the boundaries of identity, body, and space,” writes de Jong.

A retrospective collecting 40 works by the Australian artist, “Patricia Piccinini: We Are Connected” opens at Singapore’s ArtScience Museum. Showcasing her unsettling sculptures and installations that morph contemporary biopolitics towards the grotesque, the show features works including The Bond (2016, image centre) and The Field (2018, image), which, respectively, depict a mother cradling a human-ish fleshy creature, and a (wildly) genetically modified crop.

“Machine Bodies (Is Cyborg Good or Evil?),” the flagship exhibition for Vector Festival, opens in Toronto. Curated by Karina Iskandarsjah, the show considers the post-AI body. Featured are Xuan Ye’s What Lets Lethargy Dream Produces Lethargy’s Surplus Value (2020), which examines the datafication of sleep, and works by LA Birdwatchers and Madeleine Lychek that abstract predictive policing (image, background) and machine learning misinterpretation (bottom).

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Le Pain Symbiotique is like a synthetic gut: in constant motion, it ferments in the literal and allegorical sense. Maybe that’s why the structure is off-limits: to avoid the release of intestinal gases.”
– Curator and critic Régine Debatty, parsing Anicka Yi’s inflatable PVC dome currently installed at Pirelli HangarBicocca, Milan, as part of Yi’s solo show “Metaspore.” The 2014 piece harbours an eco-system of bread dough, ochre pigment, and resin sculptures, highlighting the critical ”work performed by invisible bacteria and yeasts.”
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A retrospective of the feminist performance artist in her native France, “ORLAN Manifesto. Body and Sculpture” opens at Les Abattoirs in Toulouse. Collecting 100+ works from ORLAN’s archives, the show links 1960-70s photography and performance, the iconic cosmetic surgeries (image: 7th Surgery-Performance called Omnipresence, 1993), to works in bioart and robotics, underscoring how her practice “opposes morality, natural and social determinisms, and all forms of domination.”

“When I was pregnant, I had this powerful experience of understanding myself as a vessel or a container for another voice.”
– Sound artist Aura Satz, reflecting on Ventriloqua (2003-4), a performance in which the artist played the electromagnetic waves of her (late pregnancy) belly using a theremin

Lauren Lee McCarthy’s latest interactive performance Womb Walk premieres as part of her Surrogate installation at IDFA DocLab, the Amsterdam documentary film festival’s new media program. As the American artist strolls the city wearing a prosthetic belly (image), participants ‘become’ McCarthy’s baby. “You control my movements by triggering small internal kicks to the sides of my belly directing me when to turn,” she writes on Instagram. “Together, we navigate the city, with imagined baby as interface.”

“For the first time, I publicly stated my desire to take testosterone—not to become a man but to leave the body I currently exist in.”
– Biohacker Mary Maggic, reflecting on the recent “Writing Letters to Extraterrestrials” symposium in Berlin, an “extraordinary event that opened my eyes to the alienness all around me, embodied in my flesh, my city, my child.”
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