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Virtual Art Space

Catalog view is the alternative 2D representation of our 3D virtual art space. This page is friendly to assistive technologies and does not include decorative elements used in the 3D gallery.

Space Title

Cybernetic Spirits | Cosmos 5

Within the World Titled Digital (Dis)embodiments
Credited to Anisha Baid
Opening date October 27th, 2024
View 3D Gallery
Main image for Cybernetic Spirits  |  Cosmos 5

Artworks in this space:

Artwork title

My Room

Artist name Anisha Baid
Artwork Description:

MY ROOM

VIDEO | 2020

This work engages with the tensions between the phenomenal space of vision and presence, and the virtual space of representation. Constructed from multiple screen recordings of drawing on the MS Paint 3D interface, the frames within the computer screen are used to create illusions of space, which are soon disrupted to reveal their flatness and surfaciality.

Artwork title

Sally's Helper | Channel 1

Artist name Anisha Baid
Artwork Description:

Sally’s Helper

Multi Channel Video And Performance | 2023

The performance project Sally’s Helper explores footnotes from the long history of typing as feminized labor. In the performance, the performer embodies the character of Sally, an office secretary who was used as the ‘model user’ for the first graphical user interface developed at Xerox PARC in the late 1970s. Moving between subjective accounts of chronic computer pain as a digital native, and references to the history of computer work, the performance dwells on the now normalized psycho-somatic oppression of sitting at a desk in front of a computer.

Artwork title

Sally's Helper | Channel 2

Artist name Anisha Baid
Artwork Description:

Sally’s Helper

Multi Channel Video And Performance | 2023

The performance project Sally’s Helper explores footnotes from the long history of typing as feminized labor. In the performance, the performer embodies the character of Sally, an office secretary who was used as the ‘model user’ for the first graphical user interface developed at Xerox PARC in the late 1970s. Moving between subjective accounts of chronic computer pain as a digital native, and references to the history of computer work, the performance dwells on the now normalized psycho-somatic oppression of sitting at a desk in front of a computer.