https://shawnemichaelainholloway.com [ SHAWNÉ MICHAELAIN HOLLOWAY ] Wed, 12 Jul 2023 18:46:23 +0000 https://shawnemichaelainholloway.com en https://shawnemichaelainholloway.com/CURRENTLY Wed, 28 Jun 2023 20:48:43 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/CURRENTLY <img src="https://freight.cargo.site/t/original/i/5be50bc1afab2fd0ec139635c862e58cadd49b81bc4a67f1f59701938be76961/empty-bottle-photobooth2018.gif" width="100%" height="280px" style="width: 463.844px; height: 280px;"> SHAWNÉ MICHAELAIN HOLLOWAY is a Virginia-based new media artist and poet. Known for her noisy experimental electronics and performance practice, HOLLOWAY shapes the rhetorics of computer programming and sadomasochism into tools for exposing structures of power. She has spoken and exhibited work internationally since 2012 in spaces like Performance Space New York, Experimental Media and Performing Arts Center (EMPAC), and the NRW-Forum Düsseldorf. SHAWNÉ is currently a co-director of netizen.org and Assistant Professor of Kinetic Imaging at Virginia Commonwealth University︎︎︎. At VCU, she runs media arts programming through her lab, THE P.A.T.C.H. CLINIC where she leads research and development on #realtimeMedia and expanded cinema projects that result in free and accessible educational materials, exhibitions, and/or interdisciplinary coursework. Additionally, SHAWNÉ is 1/2 of the ambient sound project duo BONE LATTICE︎︎︎ and a chatty 5 AM club gym girl/bodybuilder type that happens to be an avid Star Trek watcher and fencing enthusiast. CURRENT WORKS <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/3c6d8e7fe58ccedb3e690993515a4c4fefa4b7359db06ea2c819cc9375e8d4bb/HAMMERS--albany2024_matthewdeinhart_-22.png" data-mid="241918882" border="0" src="https://freight.cargo.site/w/1000/i/3c6d8e7fe58ccedb3e690993515a4c4fefa4b7359db06ea2c819cc9375e8d4bb/HAMMERS--albany2024_matthewdeinhart_-22.png" /> THEY LAID DOWN THEIR HAMMERS AND CRIED&nbsp;︎︎︎ https://shawnemichaelainholloway.com/a-active-a-hover-or-position-unavoidable Tue, 11 Jul 2023 14:55:25 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/a-active-a-hover-or-position-unavoidable a:active, a:hover { or position: unavoidable;video installation, 2017 ︎Sexual Fragments Absent︎︎︎, curated by &nbsp;Ikechukwu Casmir Onyewuenyi ︎Emily Colucci, ”But Whips And Chains Excite Me: Black Female Sexuality And BDSM In “Sexual Fragments Absent”︎︎︎ a:active, a:hover { or position: unavoidable; pays homage to the continuous screening of porn clips inside sex-focused nightclubs. Looming overhead in open areas of the bar, several monitors often function as fixed gazing points in lieu of access to smartphones. The on-screen content mirrors the chosen theme of the night in silent acknowledgement of the bodies in the space. To see representation of one’s self, or one’s desired self, on screen suggests that the performance of sexuality is accepted and that living the viewer’s fantasies is both tangible and encouraged. Even without paying direct attention to these films, they linger peripherally, silently impacting the ambient pulse of the space. This media becomes a public keyhole at which to peer at the desires of those around you. To watch this media is to almost always share the gaze with another, providing a common vocabulary with which to ignite an interaction. They are conversation pieces as much as they are a live bait, drawing out curiosity and arousal. A new understanding of proximity and vulnerability can be felt as a result of looking at taboo images in public space. Functioning in many of the same ways, sex-focused websites act as their own kind of nightclub where cam entertainers enact a similar peripheral seduction. They function as public forums for people to cruise, be cruised, buy sex and live fantasies in a tailored environment. The difference between porn videos in night clubs and porn videos on websites are that many of performers of the pornography can talk back. a:active, a:hover; } or position: unavoidable; is a site specific installation that mashes these two similar media together to look at IRL nightclub screenings ontologically. From self-shot porn clips mixed with footage by anon internet amateurs, this work is a creative documentation of a public online performance, encouraging critical thinking about the reciprocity of the gaze back and forth between a live audience and the perceived safety of the screen-barrier itself. The artist uses text to speak out from the screen, asking the audience questions about their relationship to the act of collective viewing. Separated in three parts, a viewer’s relationship with the performers themselves, the viewer's relationship with itself, and the viewer's relationship with those around them, are examined in a non-linear video piece. This project is also made available as a downloadable screensaver as a reminder that when one is not looking at a screen, the screen is still active and influencing others who may see it. To combat the neutrality of the screen is to combat the misunderstanding that those whose bodies you can see but voices you cannot hear cannot effect you. The reality of the space inside the screen seeps out and penetrates viewers psychologically as well as physically. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/4990e8c241354e5ae055b76cdced6cee40925b55bc3d2d126875fe63ab7105aa/BLUESTILL1.png" data-mid="184786712" border="0" src="https://freight.cargo.site/w/1000/i/4990e8c241354e5ae055b76cdced6cee40925b55bc3d2d126875fe63ab7105aa/BLUESTILL1.png" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ba9de65c73012b1df78db899b4ba95938ef9401b015b42a77d6422dda4081416/stillRED.png" data-mid="184786713" border="0" src="https://freight.cargo.site/w/1000/i/ba9de65c73012b1df78db899b4ba95938ef9401b015b42a77d6422dda4081416/stillRED.png" /> <img width="770" height="1155" width_o="770" height_o="1155" data-src="https://freight.cargo.site/t/original/i/fa44dd97464bdef24b73bc85fe9601e2a6b4638329e3644993cf765a126ac6a4/aactiveahover-yellowSMALL.png" data-mid="184786711" border="0" src="https://freight.cargo.site/w/770/i/fa44dd97464bdef24b73bc85fe9601e2a6b4638329e3644993cf765a126ac6a4/aactiveahover-yellowSMALL.png" /> <img width="775" height="1162" width_o="775" height_o="1162" data-src="https://freight.cargo.site/t/original/i/e7670a1bc877e959e9a0a94859f0ee572473e407d03d8c1710cbe0d24ff4803d/aactiveahover-blueSMALL.png" data-mid="184786710" border="0" src="https://freight.cargo.site/w/775/i/e7670a1bc877e959e9a0a94859f0ee572473e407d03d8c1710cbe0d24ff4803d/aactiveahover-blueSMALL.png" /> <img width="770" height="1155" width_o="770" height_o="1155" data-src="https://freight.cargo.site/t/original/i/fa44dd97464bdef24b73bc85fe9601e2a6b4638329e3644993cf765a126ac6a4/aactiveahover-yellowSMALL.png" data-mid="184786711" border="0" src="https://freight.cargo.site/w/770/i/fa44dd97464bdef24b73bc85fe9601e2a6b4638329e3644993cf765a126ac6a4/aactiveahover-yellowSMALL.png" /> https://shawnemichaelainholloway.com/THEY-LAID-DOWN-THEIR-HAMMERS-AND-CRIED Wed, 28 Jun 2023 20:48:44 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/THEY-LAID-DOWN-THEIR-HAMMERS-AND-CRIED THEY LAID DOWN THEIR HAMMERS AND CRIED02023&nbsp; *Comissioned by the Museum of Contemporary Art of Chicago for the 2022-23 New Works Comission. Curated by Tara Aisha Willis. *Performed at CURTIS R. PRIEM EXPERIMENTAL MEDIA AND PERFORMING ARTS CENTERTHEY LAID DOWN THEIR HAMMERS AND CRIED is a Black cyberqueer installation-performance that reimagines the American folk legend John Henry with reference to Palmer Hayden’s painting of the same name. The work employs sculptures embedded with electronic triggers and sensors, which generate reactive audiovisual outputs in response to the physical labor of striking a sledgehammer. Each of the three hundred strikes activates sound, video, and archival recording processes, corresponding to 300 stanzas of a feminist reimagining of the Rifleman’s Creed, repurposed for a hammer instead of a firearm. The system functions as a software of grief: a programmable environment in which grief can be enacted, recorded, replayed, and accumulated. In this framing, grief becomes both archive and algorithm, allowing the work to exist as a durational performance and as a repeatable, persistent system. This approach reflects a Black contemporary practice in which memory, endurance, and affect are encoded in technological infrastructures, connecting lived experience, labor, and archival practice. The technical infrastructure emphasizes embodied causality: each hammer strike feeds directly into audiovisual processes, producing feedback loops of sound, light, and image. The work functions as both choreography and durational performance, where repetition, timing, and labor form a dance-like structure that is inseparable from the logic of the software. The system’s modularity ensures that the work functions in live performance, as a self-sustaining archival installation, or as a hybrid mode where recorded gestures continue to generate reactive audiovisual material over time. Through this integration of Black cyberqueer practice, archival logic, and embodied computation, THEY LAID DOWN THEIR HAMMERS AND CRIED investigates how labor, grief, and endurance are encoded, transmitted, and replayed, proposing a Black contemporary framework for affective archives in which performance, software, and corporeal memory converge. THEY LAID DOWN THEIR HAMMERS AND CRIED is part of the TOTALRESISTANCE() series. CREW STUDIO COORDINATORCamille G. BaconAV TECH / PRODUCTION&nbsp; Matthew Dienhart SOUND DESIGNER / PRODUCTION Anthony A. Dunn / Terran Wretch HARDWARE / PRODUCTIONMolasses Industries EMPAC R&amp;D PRODUCTION ADVISORLetitia S. Holloway <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/fd9e11729440ee716d3e6e7c9911cb82e35db0f44055165fa0392bc720848d87/HAMMERS--albany2024_matthewdeinhart_-26.png" data-mid="242043183" border="0" src="https://freight.cargo.site/w/1000/i/fd9e11729440ee716d3e6e7c9911cb82e35db0f44055165fa0392bc720848d87/HAMMERS--albany2024_matthewdeinhart_-26.png" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/211d2bfcd11cd5c03c7e49a7f8370e45dc0b9d0cc28c1145d86c064506234dfc/HAMMERS--albany2024_matthewdeinhart_-18.png" data-mid="242043180" border="0" src="https://freight.cargo.site/w/1000/i/211d2bfcd11cd5c03c7e49a7f8370e45dc0b9d0cc28c1145d86c064506234dfc/HAMMERS--albany2024_matthewdeinhart_-18.png" />&nbsp; <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/4e323974399393bdf8200e132d3ed66e7678f55983c686438206037f9675f5e0/HAMMERS--albany2024_matthewdeinhart_-02.png" data-mid="242043185" border="0" src="https://freight.cargo.site/w/1000/i/4e323974399393bdf8200e132d3ed66e7678f55983c686438206037f9675f5e0/HAMMERS--albany2024_matthewdeinhart_-02.png" /> https://shawnemichaelainholloway.com/DEWCLAW Wed, 12 Jul 2023 18:46:23 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/DEWCLAW <img width="2508" height="2508" width_o="2508" height_o="2508" data-src="https://freight.cargo.site/t/original/i/c051d0b7bfe6729899f678225ed503f5877c2cca79c8793dd8621cd4a7449ff8/FIN-DEWCLAW-copy.jpg" data-mid="184892190" border="0" data-scale="99" src="https://freight.cargo.site/w/1000/i/c051d0b7bfe6729899f678225ed503f5877c2cca79c8793dd8621cd4a7449ff8/FIN-DEWCLAW-copy.jpg" />DEWCLAW2021 Comissioned by&nbsp;ICA VCU Richmond, Virginia Curated by David Riley&nbsp; “A DEWCLAW is an often-vestigial “non-weight bearing” toe on that appears just above the paw on cats, dogs and other mammals. When you search for the term on the web, hundreds of results are returned about the contentious discourse on Dewclaw removal; how the claw is attached, if it is ethical to remove it, the pain and complications that can come thereafter, as well as what to do if your pet’s extra claw is accidentally injured. SHAWNÉ MICHAELAIN HOLLOWAY’s performance by the same name is a realtime multimedia composition that uses the choreography of common sadomasochist bondage play and the faux-rage fueled narrative vocalization styles of 1980 and 90’s wrestling promos, to consider old and forgotten memories, movements, habits, desires, and dreams we hold on to and assimilate into our bodies and identities.” DEWCLAW&nbsp;is part of the TOTALRESISTANCE() series. <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/85e7ee4bdd2defccd17d39a915f4fdfe4e8556821b1ee7a00b47a7b6353e9575/2.jpg" data-mid="184893557" border="0" src="https://freight.cargo.site/w/1000/i/85e7ee4bdd2defccd17d39a915f4fdfe4e8556821b1ee7a00b47a7b6353e9575/2.jpg" /> <img width="667" height="1000" width_o="667" height_o="1000" data-src="https://freight.cargo.site/t/original/i/31193e65512a5266f9cf24658b9ec053f8c00c5fa5a4d45378d110bf910d1406/4a.jpg" data-mid="184893561" border="0" 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/> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/defad582a29e330a5f5195efd3151196a7fbf7defc28f620da8a599f7b31cb53/TALKBACK_3.jpg" data-mid="184892359" border="0" src="https://freight.cargo.site/w/1000/i/defad582a29e330a5f5195efd3151196a7fbf7defc28f620da8a599f7b31cb53/TALKBACK_3.jpg" /> <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/c9b63cab358df4bb604584920ab12c5927055a636907948b310957a86da29724/TALKBACK_7.jpg" data-mid="184892862" border="0" src="https://freight.cargo.site/w/1000/i/c9b63cab358df4bb604584920ab12c5927055a636907948b310957a86da29724/TALKBACK_7.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/4dc8b532fc9ce1f825147d66352d1199fef851bd281e8c211994c94384b64c46/TALKBACK_6.jpg" data-mid="184892861" border="0" src="https://freight.cargo.site/w/1000/i/4dc8b532fc9ce1f825147d66352d1199fef851bd281e8c211994c94384b64c46/TALKBACK_6.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/3586dcca9d8fd6ce8065fc2d640c7bcabf2962710d9179839f3a2ff303e812be/TALKBACK_5.jpg" data-mid="184892361" border="0" src="https://freight.cargo.site/w/1000/i/3586dcca9d8fd6ce8065fc2d640c7bcabf2962710d9179839f3a2ff303e812be/TALKBACK_5.jpg" /> <img width="1500" height="2250" width_o="1500" height_o="2250" data-src="https://freight.cargo.site/t/original/i/01691933bab7b76661d6832ea7803f82d26d4b2fb0c1e47caead932dc6a988ed/TALKBACK_3c.jpg" data-mid="184892856" border="0" src="https://freight.cargo.site/w/1000/i/01691933bab7b76661d6832ea7803f82d26d4b2fb0c1e47caead932dc6a988ed/TALKBACK_3c.jpg" /> “ As much as an animal’s DEWCLAW might be a vestigial appendage, it is part of them, connected to the paw by flesh and collective history. What are our personal and collective histories that force us to carry the same vestigial signifiers? How do we emit or wear those invisible parts, long incorporated? To which part of our being are they attached? Are they difficult to remove? Do they pain us? What are the complications that come from their presence? What happens when our forgotten extras are accidentally called upon? In DEWCLAW’s four parts, [LIGATURES], [TEAR], [REMOVAL], and [AMELIORATION], this three person performance mirrors the Internet’s discourse on declawing by scratching deep into stories about leaving heterosexuality behind, habits learned during intimacy with ex lovers, and shedding adolescence.” https://shawnemichaelainholloway.com/SPEEDRUN-HOME-PAGE Wed, 12 Jul 2023 15:54:24 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/SPEEDRUN-HOME-PAGE SPEEDRUN.HOME(PAGE)2022 pleasurehome: desiring queer space︎︎︎ Art Museum,&nbsp;University of Toronto curated/comissioned by Logan Williams&nbsp; *Note: this project is no longer live but if you like code, you can still run/check it out&nbsp;via github here!︎︎︎ “Climbing uphill for the chance at a kiss, Shawné Michaelain Holloway’s SPEEDRUNHOME.PAGE concludes pleasurehome: desiring queer space with an invitation to a new home. &nbsp; In Anna Anthropy’s 2018 Might Jill Off, Jill is tasked with the protection of the Queen’s tower as her loyal and dutiful servant. The online game opens with Jill’s desire to kiss the boots of the Queen but must first climb to the top of the tower in a series of challenges to be granted the opportunity. The fulfilment of this perverse pleasure is contingent on a successful run from top to bottom and made possible again, in the case of death, with the replenishment of new ‘lives’ in an inevitable win for the diligent gamer. Resounding from this narrative are the obstructions placed in the way of desire; the queer subject is tasked with an obstacle course of deadly missions before they can experience the unfolding of their pleasures, with violence left as necessary residues on each new desire. For Shawné Michaelain Holloway, the game stands as a testament to the necessity of building queer home through reconsidered environments, to observe the potency of the queer experience in The Mighty Jill Off through re-establishing a space to consider the pursuit of pleasure. For thirty days, Holloway welcomes web users to transform their homepage to SPEEDRUNHOME.PAGE for deeper contemplation on how queerness is mobilized in the space of the day, for better and for worse, through a combination of poetry, images, and audio testimonials that take a new shape every day. The sprite who persistently climbs up and down a ladder in this ever-changing online environment not only confronts the trope of the girl in the tower but asks viewers to consider the embodied relationship that emerges from pursuing desire. “ <img width="1280" height="854" width_o="1280" height_o="854" data-src="https://freight.cargo.site/t/original/i/bce38554abf23f5c89f3fe47dd7e82efb379c6e0493688332b99ae64b22ce35c/pleasurehome_Holloway_h.jpeg" data-mid="184874833" border="0" src="https://freight.cargo.site/w/1000/i/bce38554abf23f5c89f3fe47dd7e82efb379c6e0493688332b99ae64b22ce35c/pleasurehome_Holloway_h.jpeg" /> “As with much of Holloway’s work, SPEEDRUNHOME.PAGE moves beyond the framework of the internet by considering the performativity of spaces and queer experience, gathering source material from friends and colleagues to imbue the webpage with a life of its own. A daily return ‘home’, a shift in the interface, a new collection of poetic gestures: this accrual captures the dense landscape of potential meanings home has for each of us as pleasurehome reaches its final days. Holloway expertly guides us to an end of more questions, of deeper contemplation, much like Jill climbing the ladder, toward a desire we simply cannot abandon. “ — Logan Williams https://shawnemichaelainholloway.com/SOMEBODY-S-MIDNIGHT Wed, 12 Jul 2023 17:38:29 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/SOMEBODY-S-MIDNIGHT SOMEBODY’S MIDNIGHTValentine’s Day, 2021 ACCESS THE WORK HERE︎︎︎ SOMEBODY'S MIDNIGHT is an interactive, open love letter by SHAWNÉ MICHAELAIN HOLLOWAY. Only accessible between midnight and 1AM (in each viewers’ unique timezone), the text becomes a call and response, asking viewers to reflect on old connections as we long, desire, wish, and hope from our isolation. In the end, like all communications, this one breaks down quickly, forcing us to either act quickly or revisit it in order to complete the transmission.&nbsp; At the time of its creation, this work was live at http://somebodysmidnight.space/ but is no longer at that domain. Development by Nick Briz. Click here to access documntation of this work via Github.︎︎︎ <img width="1170" height="2532" width_o="1170" height_o="2532" data-src="https://freight.cargo.site/t/original/i/5dd99a85ee43872168c1b9987bbfa7ba3f89b08915359802222edfcd1a4c36b5/somebodysMidnight-SMH.jpeg" data-mid="184886689" border="0" src="https://freight.cargo.site/w/1000/i/5dd99a85ee43872168c1b9987bbfa7ba3f89b08915359802222edfcd1a4c36b5/somebodysMidnight-SMH.jpeg" /> https://shawnemichaelainholloway.com/STRAPP Tue, 11 Jul 2023 03:21:04 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/STRAPP <img width="1298" height="385" width_o="1298" height_o="385" data-src="https://freight.cargo.site/t/original/i/d8e9551e00a86037de905701c021c752476a2e163981231a92a338fad18991c8/splashLogo.png" data-mid="184895173" border="0" src="https://freight.cargo.site/w/1000/i/d8e9551e00a86037de905701c021c752476a2e163981231a92a338fad18991c8/splashLogo.png" /> STRAPP2018 i was raised on the internet; Museum of Contemporary ArtChicago As a part of LEAN ARTIST, the world's first seed accelerator for artists, STRAPP was created in Fall 2017 as a hybrid performance / product design experiment under the guidance of Jeremy Bailey and an international team of mentors. Displayed at the Museum of Contemporary Art in Chicago alongside three other companies (TRAP HOUSE CHICAGO, CLUMZY, and DIASPORAX) its presence in the 2018 exhbition I Was Raised On The Internet, helps provide context within the digital narrative for how businesses are developing in the shadow of technology. STRAPP's first products, the Cruise (black) and the Crush (camel) are dildoe harnesses create to initiate a step forward for queer sexuality, positing that there should and can be more options on the market that better support the LGBTQIA+ community's needs. STRAPP takes pleasure seriously and is here to support generation of individuals seeking confidence and comfort without compromise. Our mission is to re-design and re-imagine pleasure products for an affirming experience. Our products always feature gender and shape affirming design with carefully planned details for easy, stylish, modern love. <img width="5079" height="3799" width_o="5079" height_o="3799" data-src="https://freight.cargo.site/t/original/i/f999fe9f37f79295a47a1dd0d0e371ea878d4bbd5499848a795fe42e1a74e28a/strapp_Cruiseblack_Crushcamel.png" data-mid="184895174" border="0" src="https://freight.cargo.site/w/1000/i/f999fe9f37f79295a47a1dd0d0e371ea878d4bbd5499848a795fe42e1a74e28a/strapp_Cruiseblack_Crushcamel.png" /> <img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/2fa263a76e62bacb272e586a6419ad69908af244893d13ae4dbc4a7ca0c0a6eb/Strapp-Shawne-Michaelain-Holloway-2018-Madre-Criatura-Photography.jpg" data-mid="184721632" border="0" src="https://freight.cargo.site/w/1000/i/2fa263a76e62bacb272e586a6419ad69908af244893d13ae4dbc4a7ca0c0a6eb/Strapp-Shawne-Michaelain-Holloway-2018-Madre-Criatura-Photography.jpg" /> <img width="1000" 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data-src="https://freight.cargo.site/t/original/i/ee6dd8769f66fe35404b9ff51bcb48282b37b5d8094bec24e652da0a98430ab5/lean_artist_strapp_SH7.jpg" data-mid="184895170" border="0" src="https://freight.cargo.site/w/1000/i/ee6dd8769f66fe35404b9ff51bcb48282b37b5d8094bec24e652da0a98430ab5/lean_artist_strapp_SH7.jpg" /> <img width="2268" height="4032" width_o="2268" height_o="4032" data-src="https://freight.cargo.site/t/original/i/3f80680a066a652e6c1b94155912048c76155f7d4b17364cb889821d69575382/lean_artist_strapp_SH6.jpg" data-mid="184895169" border="0" src="https://freight.cargo.site/w/1000/i/3f80680a066a652e6c1b94155912048c76155f7d4b17364cb889821d69575382/lean_artist_strapp_SH6.jpg" /> <img width="4032" height="2268" width_o="4032" height_o="2268" data-src="https://freight.cargo.site/t/original/i/7bb83575f27a3a96a54604ff311971399eacb20753abc2d9ed6df54fd87a092c/lean_artist_strapp_SH5.jpg" data-mid="184895166" border="0" 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data-src="https://freight.cargo.site/t/original/i/a854691e32ac5d9385779faa977c9a6b57b5eb9afd8a11d8cda00ad114144956/lean_artist_strapp_SH3.jpg" data-mid="184895156" border="0" src="https://freight.cargo.site/w/1000/i/a854691e32ac5d9385779faa977c9a6b57b5eb9afd8a11d8cda00ad114144956/lean_artist_strapp_SH3.jpg" /> <img width="2268" height="4032" width_o="2268" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e11eb3670b9cffb61116dbcc59ac1d9cf8a985b51e801254a281e63ac7469589/lean_artist_strapp_SH1.jpg" data-mid="184895155" border="0" src="https://freight.cargo.site/w/1000/i/e11eb3670b9cffb61116dbcc59ac1d9cf8a985b51e801254a281e63ac7469589/lean_artist_strapp_SH1.jpg" /> <img width="2268" height="4032" width_o="2268" height_o="4032" data-src="https://freight.cargo.site/t/original/i/d1ab72bdd182ddebf5a30fae9a2634c765a96f78795792aa29290df02298d435/lean_artist_strapp_SH.jpg" data-mid="184895154" border="0" src="https://freight.cargo.site/w/1000/i/d1ab72bdd182ddebf5a30fae9a2634c765a96f78795792aa29290df02298d435/lean_artist_strapp_SH.jpg" /> https://shawnemichaelainholloway.com/SUB-NOT-SLAVE Wed, 28 Jun 2023 20:48:44 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/SUB-NOT-SLAVE SUB NOT SLAVEsolo exhibition, 2017 ︎AQNB, ““What turns you on?”: Shawné Michaelain Holloway talks power + submission in Sub Not Slave at Helsinki’s Sorbus” ︎︎︎ ︎EDIT TAIDEMEDIA, SHAWNÉ MICHAELAIN HOLLOWAY: SUB NOT SLAVE ︎︎︎ SUB NOT SLAVE is a multimedia installation that forces a viewer to look down. Through a creative re-staging of a sex club bathroom, the work heavy handedly presents an examination of power. Serving as a kind of interrogation booth, the work turns into a structure that simultaneously asks, “What turns you on?” and “What do you think is dirty?” The definition of this uncleanliness can fluctuate between its literal meaning to “forbidden,” “uncouth,” and even “lesser than.” Upon entering the space, a viewer is invited to stand over a toilet with both feet inside a guideline. Looking down, a video plays; placed where one would typically urinate and defecate, it is meant to remind the viewer of their role as dominant and judgement-maker on bodies or voices inside of the screen. In the footage, self-shot pornography plays in a loop. Intertwined with a list of yes or no questions. Viewers are asked to respond to aloud. The exhibition title SUB NOT SLAVE reinforces submission as an active gesture that is offered in exchange for something rather than something that is owed. By following the artist’s carefully arranged choreography of viewership, she engages audiences in an embodied act of play. From across the room, another work presents the artist sitting in her own bathroom stall, overseeing a circuitous objectification. <img width="1924" height="1088" width_o="1924" height_o="1088" data-src="https://freight.cargo.site/t/original/i/fbe5549aa68da404cc95f11143a8d4f91685406b5f6e0a26c32473127296f233/yellowSHAWNEMICHAELAINHOLLOWAY.png" data-mid="184720421" border="0" src="https://freight.cargo.site/w/1000/i/fbe5549aa68da404cc95f11143a8d4f91685406b5f6e0a26c32473127296f233/yellowSHAWNEMICHAELAINHOLLOWAY.png" /> <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/7e54f20368b489175c4959e01ec7190f36378ca1988079546cefcc3596cb23ee/01_holloway_sorbus.jpeg" data-mid="184720415" border="0" src="https://freight.cargo.site/w/1000/i/7e54f20368b489175c4959e01ec7190f36378ca1988079546cefcc3596cb23ee/01_holloway_sorbus.jpeg" /> https://shawnemichaelainholloway.com/DAUGHTER-OF-THE-CAGE Tue, 11 Jul 2023 17:35:56 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/DAUGHTER-OF-THE-CAGE DAUGHTER OF THE CAGEsolo exhibition, 2017 DAUGHTER OF THE CAGE presents power on a spectrum, represented by a gradient from black to white. These colors are not arbitrary. If power dynamics can be mapped through “grey areas,” the potential for binary inversion is always already possible from either end of the spectrum, from inside or outside of the cage. The imagery appropriated for the production of this series is drawn from silent films created by Oscar Micheaux in the 1920s. LISTEN &amp;amp;lt;a href="https://shawnemichaelainholloway.bandcamp.com/track/after-natalie-hinderas-a-terrasse-des-audiences-du-clair-de-lune-wav"&amp;amp;gt;AFTER-NATALIE-HINDERAS[a-terrasse-des-audiences-du-clair-de-lune.wav] by shawné michaelain holloway&amp;amp;lt;/a&amp;amp;gt; <img width="2048" height="1357" width_o="2048" height_o="1357" data-src="https://freight.cargo.site/t/original/i/b4e35b4b51df62a67fb1a56b391a20fa1ff64bf8acf6feb0803e8aa9c8945235/5shawne.png" data-mid="184787857" border="0" src="https://freight.cargo.site/w/1000/i/b4e35b4b51df62a67fb1a56b391a20fa1ff64bf8acf6feb0803e8aa9c8945235/5shawne.png" /> <img width="2453" height="1638" width_o="2453" height_o="1638" data-src="https://freight.cargo.site/t/original/i/d6a98f4efb356b66c689dfe9ea8fee9e78de8dea0d2f027e041266d60ccc1618/4shawnesmaller.png" data-mid="184787736" border="0" src="https://freight.cargo.site/w/1000/i/d6a98f4efb356b66c689dfe9ea8fee9e78de8dea0d2f027e041266d60ccc1618/4shawnesmaller.png" /> <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/269c3acbcbf3c677ce5f79f2d16dedfb12e49482f5e4d72502a8d58198f7fc81/DAUGHTER-OF-THE-CAGE---HOLLOWAY-white.png" data-mid="184787858" border="0" src="https://freight.cargo.site/w/1000/i/269c3acbcbf3c677ce5f79f2d16dedfb12e49482f5e4d72502a8d58198f7fc81/DAUGHTER-OF-THE-CAGE---HOLLOWAY-white.png" /> https://shawnemichaelainholloway.com/A-PERSONAL-PROJECT Wed, 12 Jul 2023 14:34:32 +0000 [ SHAWNÉ MICHAELAIN HOLLOWAY ] https://shawnemichaelainholloway.com/A-PERSONAL-PROJECT A PERSONAL PROJECT2012-2020 *Due to difficulties preserving works of explict nature, much of this work has been lost. What is left of the video work &nbsp;is preserved on Vimeo.︎︎︎ “Digital intimacy is about exchange, but what is it that it is made of and how are we exchanging it? A PERSONAL PROJECT is a series of online artifacts ranging from videos and erotic stories to photos and snapchats created to expose power dynamics in online, browser-mediated affairs. Who or what controls who's arousal? Who gets paid? Are there different kinds of currency used for pay-outs? Who gets what kind of currency-- is it all equal? Guilt and shame are explored as a possible substance that can be communicated through interface obfuscated online interaction. This project is continuously exhibited in an account on XTUBE, an amateur porn site.” "Power dynamics affected this work not because of the power of the people or the culture inside, but the power of the people and the culture outside looking in. I feel ashamed that I see these spaces as a playground where I get to construct my own fantasies and control my environment. In a lot of ways I am excited about this non-corporal freedom I gain there—like sexually excited. We all want something intangible that we can't have and there's always these fucked up political connotations that are attached to these desires. I use these people online just as much as they're using me and I’m secretly really happily ashamed of that. I use people online because I can't bring myself to do it IRL. See the connections? I think my way of somehow ritualistically absolving myself of this shame is by producing these videos. The product for me is a kind of stain, and I think the footage reflects it—it is all really dark and self-aware in this way.” READ MORE &nbsp; https://rhizome.org/editorial/2015/sep/24/artist-profile-shawne-michaelain-holloway/︎︎︎ SEE MORE &nbsp; https://vimeo.com/showcase/10521836︎︎︎ <img width="620" height="349" width_o="620" height_o="349" data-src="https://freight.cargo.site/t/original/i/6e56ace12e42c6baebd05d0baf0908167291cd9e91537bde8969d02f7f75a907/0317NFMIICOTI_SMHolloway-620x349.jpeg" data-mid="184903748" border="0" src="https://freight.cargo.site/w/620/i/6e56ace12e42c6baebd05d0baf0908167291cd9e91537bde8969d02f7f75a907/0317NFMIICOTI_SMHolloway-620x349.jpeg" /> <img width="2500" height="1301" width_o="2500" height_o="1301" data-src="https://freight.cargo.site/t/original/i/8b2a56faf1c5a29fa88bb5f8fdc8acd527e069b0eea808b02a074686c0311d17/personalproject-Holloway-earlyXtube2012maybe.png" data-mid="184903753" border="0" src="https://freight.cargo.site/w/1000/i/8b2a56faf1c5a29fa88bb5f8fdc8acd527e069b0eea808b02a074686c0311d17/personalproject-Holloway-earlyXtube2012maybe.png" /> <img width="800" height="1236" width_o="800" height_o="1236" data-src="https://freight.cargo.site/t/original/i/2628bc0e4cdca79b91cf9afa964e5a8f6c87401004d056e1fd50d76189a9f076/ABOUT-MYSELF_SMALLER.png" data-mid="184903861" border="0" src="https://freight.cargo.site/w/800/i/2628bc0e4cdca79b91cf9afa964e5a8f6c87401004d056e1fd50d76189a9f076/ABOUT-MYSELF_SMALLER.png" /> <img width="800" height="1236" width_o="800" height_o="1236" data-src="https://freight.cargo.site/t/original/i/7b5f6e6bcae0c4cd3474029403743e1a1dd208db0529e7aa7f57b9cb2c1508b1/11X17PRINT--DATA_SMALL.png" data-mid="184903860" border="0" src="https://freight.cargo.site/w/800/i/7b5f6e6bcae0c4cd3474029403743e1a1dd208db0529e7aa7f57b9cb2c1508b1/11X17PRINT--DATA_SMALL.png" /> LIST OF SELECTED WORKS IN THE SERIES︎[CON]SENSUAL: TRIBUTE (FULL LENGTH V1), 2012 ︎A PERSONAL PROJECTA_PERSONAL_PROJECT : NOTHING_FUCKING_MATTERS_I (2014).MOV, 2012 ︎nothing_fucking_matters_II: cuter on the internet.mp4, 2012 ︎a_personal_project, IV: password protected thaumatrope, security measures for a caged bird.mov, 2013 ︎a_personal_project : il quitté avant moi_OR_i looked and you weren’t there.mov, 2015 ︎ABOUT-ME.PNG, 2017 ︎ADD-TAGS-TO-DESCRIBE-YOURSELF.PNG, 2017 + PROFILE-PIC.PNG, 2017 ︎A_PERSONAL_PROJECT(4/6_wRAW-FOOTAGE).ZIP (A RETROSPECTIVE)&nbsp;EXHIBITIONIST-MODE.MP, 2020