Sublime

welcome 2 𝑒𝓋𝑒𝓇𝓎𝑜𝓃𝑒 𝒾𝓈 𝒶 𝑔𝒾𝓇𝓁. a new forum for jagged and iridescent reflection on the “girl online”, or rather, the necessity of being a girl online. what is it to be a girl? drawing our project’s name from alex quicho’s @amfq article << everyone is a girl online >>, we follow quicho in theorizing the girl as one who ‘tactically’ submits to the wills of the digital algorithm, “vying for both privacy and visibility” through a delicately ‘real’ performance of identity. to participate online is to be a feminine subject, because it subjects one to a self-surveillance from the perspective of the masses. girls embrace the ‘dark forest’ (after bogna konior @bognamk ) of the internet in hopes to manipulate, collectivize, and forge the future. they can engage in 𝑔𝒾𝓇𝓁𝒷𝓁𝑜𝑔𝑔𝒾𝓃𝑔 in which the hypertextual leakages of online spaces become a watering ground for performances that perverse time/space. in addition to girls online, we focus on ester freider’s @stargir1z conception of 𝓌𝑒𝓉𝓃𝑒𝓈𝓈 or the “informational sublime”: a quality created through the hyperconnected nodes of today’s platforms. wetness opens endless opportunities for identity rebirth for girls online, while also necessitating the de-nuanced flattening of content and the capitalistic fetish of gnawing endlessness. through wetness’s infective kiss, girls online birth a new landscape: the 𝒸𝓎𝒷𝑒𝓇𝒷𝒶𝓇𝑜𝓆𝓊𝑒. just as the baroque (coming from the Portuguese word for an odd, misshapen pearl) introduced entrails of illusion, drama, and subjectivity into early 18th century spaces, the girl, existing in the wet space that is the internet, adopts fluidity and illusion in her online performance. just as baroque ceilings were painted to replicate baby-blue, fluffy-cloud skies, the online girl fashions herself a character both real and saturated. in this project, we aim to record and weave the thought done by girls online as well as their predecessors in cyberfeminism. we discard the priority/possibility of authenticity online, if at all. instead we yield to the pearly cavern of artifice, play, and swarm that might reveal that there was no true self in the first place.

𝙸 𝚊𝚖 𝚍𝚎𝚕𝚒𝚐𝚑𝚝𝚎𝚍 𝚝𝚘 𝚊𝚗𝚗𝚘𝚞𝚗𝚌𝚎 𝚖𝚢 𝚞𝚙𝚌𝚘𝚖𝚒𝚗𝚐 𝚜𝚑𝚘𝚠. 𝙸𝚝 𝚒𝚜 𝚊𝚗 𝚑𝚘𝚗𝚘𝚞𝚛 𝚊𝚗𝚍 𝚙𝚕𝚎𝚊𝚜𝚞𝚛𝚎 𝚝𝚘 𝚋𝚎 𝚜𝚘 𝚌𝚕𝚘𝚜𝚎 𝚝𝚘 𝙿𝚊𝚞𝚕𝚊‘𝚜 𝚒𝚗𝚌𝚛𝚎𝚍𝚒𝚋𝚕𝚎 𝚍𝚎𝚗𝚜𝚎 𝚙𝚊𝚒𝚗𝚝𝚒𝚗𝚐𝚜. 𝙸 𝚙𝚎𝚛𝚌𝚎𝚒𝚟𝚎 𝚝𝚑𝚎𝚖 𝚊𝚜 𝚘𝚞𝚝𝚜𝚝𝚊𝚗𝚍𝚒𝚗𝚐 𝚊𝚗𝚍 𝚝𝚒𝚖𝚎𝚕𝚎𝚜𝚜. „𝚅𝚒𝚟𝚒𝚊𝚗 𝙶𝚛𝚎𝚟𝚎𝚗 𝚒𝚗 𝙳𝚒𝚊𝚕𝚘𝚐𝚞𝚎 𝚠𝚒𝚝𝚑 𝙿𝚊𝚞𝚕𝚊 𝙼𝚘𝚍𝚎𝚛𝚜𝚘𝚑𝚗 𝙱𝚎𝚌𝚔𝚎𝚛“‘ 𝚊𝚝 𝙿𝚊𝚞𝚕𝚊 𝙼𝚘𝚍𝚎𝚛𝚜𝚘𝚑𝚗-𝙱𝚎𝚌𝚔𝚎𝚛 𝙼𝚞𝚜𝚎𝚞𝚖, 𝙱𝚛𝚎𝚖𝚎𝚗, 𝙳𝙴 𝟸𝟸.𝟼.-𝟷𝟻.𝟿.𝟸𝟶𝟸𝟺 - 𝚘𝚙𝚎𝚗𝚒𝚗𝚐 𝚝𝚘𝚍𝚊𝚢 / 𝟹 𝚙𝚖 𝙰𝚝 𝚏𝚒𝚛𝚜𝚝 𝚐𝚕𝚊𝚗𝚌𝚎, 𝚝𝚑𝚎 𝚙𝚊𝚒𝚗𝚝𝚒𝚗𝚐𝚜 𝚘𝚏 𝙳ü𝚜𝚜𝚎𝚕𝚍𝚘𝚛𝚏 𝚙𝚊𝚒𝚗𝚝𝚎𝚛 𝚅𝚒𝚟𝚒𝚊𝚗 𝙶𝚛𝚎𝚟𝚎𝚗 (*𝟷𝟿𝟾𝟻) 𝚜𝚎𝚎𝚖 𝚝𝚘 𝚑𝚊𝚟𝚎 𝚕𝚒𝚝𝚝𝚕𝚎 𝚒𝚗 𝚌𝚘𝚖𝚖𝚘𝚗 𝚠𝚒𝚝𝚑 𝚝𝚑𝚘𝚜𝚎 𝚘𝚏 𝙿𝚊𝚞𝚕𝚊 𝙼𝚘𝚍𝚎𝚛𝚜𝚘𝚑𝚗-𝙱𝚎𝚌𝚔𝚎𝚛. 𝙰𝚕𝚝𝚑𝚘𝚞𝚐𝚑 𝚋𝚘𝚝𝚑 𝚊𝚛𝚝𝚒𝚜𝚝𝚜 𝚏𝚘𝚌𝚞𝚜 𝚘𝚗 𝚝𝚑𝚎 𝚏𝚒𝚐𝚞𝚛𝚊𝚝𝚒𝚟𝚎 𝚒𝚗 𝚝𝚑𝚎𝚒𝚛 𝚠𝚘𝚛𝚔, 𝚝𝚑𝚎 𝚝𝚛𝚎𝚊𝚝𝚖𝚎𝚗𝚝 𝚘𝚏 𝚝𝚑𝚎 𝚜𝚞𝚛𝚏𝚊𝚌𝚎𝚜 𝚌𝚘𝚞𝚕𝚍 𝚗𝚘𝚝 𝚋𝚎 𝚖𝚘𝚛𝚎 𝚍𝚒𝚏𝚏𝚎𝚛𝚎𝚗𝚝: 𝙸𝚗 𝚝𝚑𝚎 𝚌𝚊𝚜𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚘𝚕𝚍𝚎𝚛 𝚊𝚛𝚝𝚒𝚜𝚝, 𝚊 𝚖𝚘𝚜𝚝𝚕𝚢 𝚒𝚖𝚙𝚊𝚜𝚝𝚘 𝚜𝚝𝚢𝚕𝚎 𝚘𝚏 𝚙𝚊𝚒𝚗𝚝𝚒𝚗𝚐, 𝚒𝚗 𝚠𝚑𝚒𝚌𝚑 𝚜𝚑𝚎 𝚜𝚘𝚖𝚎𝚝𝚒𝚖𝚎𝚜 𝚌𝚊𝚛𝚟𝚎𝚍 𝚒𝚗𝚝𝚘 𝚝𝚑𝚎 𝚌𝚑𝚒𝚙𝚙𝚢 𝚙𝚊𝚒𝚗𝚝 𝚖𝚊𝚝𝚎𝚛𝚒𝚊𝚕 𝚠𝚒𝚝𝚑 𝚊 𝚋𝚛𝚞𝚜𝚑; 𝚒𝚗 𝚝𝚑𝚎 𝚌𝚊𝚜𝚎 𝚘𝚏 𝚝𝚑𝚎 𝚢𝚘𝚞𝚗𝚐𝚎𝚛 𝚊𝚛𝚝𝚒𝚜𝚝, 𝚊𝚗 𝚊𝚛𝚝𝚒𝚏𝚒𝚌𝚒𝚊𝚕-𝚕𝚘𝚘𝚔𝚒𝚗𝚐 𝚙𝚛𝚎𝚌𝚒𝚜𝚎 𝚙𝚊𝚒𝚗𝚝𝚒𝚗𝚐 𝚠𝚒𝚝𝚑 𝚜𝚖𝚘𝚘𝚝𝚑, 𝚖𝚘𝚝𝚒𝚘𝚗𝚕𝚎𝚜𝚜 𝚜𝚞𝚛𝚏𝚊𝚌𝚎𝚜. 𝚃𝚑𝚎 𝚌𝚘𝚗𝚗𝚎𝚌𝚝𝚒𝚘𝚗𝚜 𝚕𝚒𝚎 𝚘𝚗 𝚊 𝚍𝚒𝚏𝚏𝚎𝚛𝚎𝚗𝚝 𝚕𝚎𝚟𝚎𝚕: 𝚝𝚑𝚎 𝚎𝚡𝚊𝚖𝚒𝚗𝚊𝚝𝚒𝚘𝚗 𝚘𝚏 𝚝𝚑𝚎 𝚊𝚗𝚝𝚒𝚚𝚞𝚎 𝚏𝚒𝚐𝚞𝚛𝚎, 𝚏𝚘𝚛 𝚎𝚡𝚊𝚖𝚙𝚕𝚎, 𝚊𝚗𝚍 𝚊𝚋𝚘𝚟𝚎 𝚊𝚕𝚕 𝚝𝚑𝚎 𝚜𝚙𝚎𝚌𝚒𝚊𝚕 𝚊𝚝𝚖𝚘𝚜𝚙𝚑𝚎𝚛𝚎, 𝚝𝚑𝚎 𝚜𝚝𝚒𝚕𝚕𝚗𝚎𝚜𝚜 𝚊𝚗𝚍 𝚝𝚑𝚎 𝚏𝚎𝚎𝚕𝚒𝚗𝚐 𝚘𝚏 𝚝𝚒𝚖𝚎𝚕𝚎𝚜𝚜𝚗𝚎𝚜𝚜 𝚝𝚑𝚊𝚝 𝚎𝚖𝚊𝚗𝚊𝚝𝚎 𝚏𝚛𝚘𝚖 𝚝𝚑𝚎 𝚠𝚘𝚛𝚔𝚜. 𝙸𝚖𝚊𝚐𝚎: 𝙼𝚊𝚛𝚒, 𝟸𝟶𝟸𝟸 𝚘𝚒𝚕 𝚘𝚗 𝚌𝚊𝚗𝚟𝚊𝚜 𝟷𝟻𝟶 × 𝟸𝟸𝟶 𝚌𝚖 𝚙𝚑𝚘𝚝𝚘: 𝙸𝚟𝚘 𝙵𝚊𝚋𝚎𝚛 #𝚙𝚊𝚞𝚕𝚊𝚖𝚘𝚍𝚎𝚛𝚜𝚘𝚑𝚗𝚋𝚎𝚌𝚔𝚎𝚛 #𝚙𝚊𝚞𝚕𝚊𝚖𝚘𝚍𝚎𝚛𝚜𝚘𝚑𝚗𝚋𝚎𝚌𝚔𝚎𝚛𝚖𝚞𝚜𝚎𝚞𝚖 #𝚟𝚒𝚟𝚒𝚊𝚗𝚐𝚛𝚎𝚟𝚎𝚗 𝚃𝚑𝚊𝚗𝚔 𝚢𝚘𝚞 @frankschmidt49 𝚏𝚘𝚛 𝚖𝚊𝚔𝚒𝚗𝚐 𝚝𝚑𝚒𝚜 𝚙𝚘𝚜𝚜𝚒𝚋𝚕𝚎. 🌷

New work by American painter, Elise Ansel ‘Woman Reading IX’, oil on linen, 102cm x 86cm