Heike Munder – författare

Encompassing paintings and environments in the vein of pop art, as well as conceptual drawings and cybernetic installations, the oeuvre of Peruvian artist Teresa Burga (born 1935) highlights the individual's ability to influence social conditions. Her early attraction to conceptual art led her to become a founding member of the Peruvian avant-garde movement Grupo Arte Nuevo (1966–68). In 1968, as a Fulbright scholar, Burga left Peru to study at the Art Institute of Chicago, where she developed her mature pop-conceptual practice, moving away from painting to produce installations, research-based projects and happenings. This volume provides an overview of her work from the 1960s to the present, reflecting on Burga's strategies and themes.

Stemming from the timely spring 2019 group exhibition at the Migros Museum für Gegenwartskunst, Producing Futures: A Book on Post-Cyber-Feminisms focuses on feminist concerns in the post-internet era. While in the 1990s cyber-feminism—a term coined by artist collective VNS Matrix—celebrated the cyberspace as a place of liberation and empowerment, one is now confronted with the fact that, rather, it multiplied and enforced existing hierarchies and power structures. Thus the question remains of whether the cyberspace can be appropriated when striving for gender justice, emancipation and social equality. As the virtual world(s) and real life are increasingly merging, artists reflect on and productively alienate the tools and platforms on hand to produce a future that is worth living in—offline and online. To relate historical claims and visions of cyber-feminism to the current situation, as well as to different feminist approaches which focus on the tension between body and technology and discriminatory gender norms, this publication gathers together works and approaches by artists such as, among others, Cécile B. Evans, Cao Fei, Lynn Hershman Leeson, Shana Moulton, Frances Stark, Anna Uddenberg, Wu Tsang, VNS Matrix, Guan Xiao and Anicka Yi.