Drei große Bildschirme an einer dunklen Wand zeigen Aufnahmen einer tanzenden Person in verschiedenen Einstellungen. Jeder Bildschirm präsentiert einen anderen Kamerawinkel derselben Bewegung. Über den Bildschirmen befindet sich eine Metallkonstruktion mit vielen Glaselementen, die natürliches Licht hereinlässt.
Alternativ-Text (en)
Three large screens mounted on a dark wall display footage of a dancing person from different angles. Each screen shows a different camera perspective of the same movement. Above the screens is a metal structure with many glass elements letting in natural light.
In this project, I examine how the male gaze is built within AI systems content moderation , where censorship and sexualization coexist. Drawing from Anselm Feuerbach’s 1852 painting Hafis vor der Schenke, depicting the poet Hafez and two silent women, the work poses the question: if freed from spectatorship, what voices might they reveal? This two-channel video installation reimagines the scene through AI video generation and live narration. Referencing Valerie Solanas’s S.C.U.M. Manifesto, it reflects on how Gen-AI, governed by moral bias, mirrors a patriarchal worldview - still defining what is visible and what must remain unseen.
In this project, I examine how the male gaze is built within AI systems content moderation , where censorship and sexualization coexist. Drawing from Anselm Feuerbach’s 1852 painting Hafis vor der Schenke, depicting the poet Hafez and two silent women, the work poses the question: if freed from spectatorship, what voices might they reveal? This two-channel video installation reimagines the scene through AI video generation and live narration. Referencing Valerie Solanas’s S.C.U.M. Manifesto, it reflects on how Gen-AI, governed by moral bias, mirrors a patriarchal worldview - still defining what is visible and what must remain unseen.