Fintech for the Precariat
digital video (3840 x 2160), color, sound, 11’ 37”, 2017, United States
video documentation of an immersive world application
Created by Ricardo Miranda Zúñiga, 2021
February 18 - March 3 2022
Introduced by Matteo Bittanti
FinTech for the Precariat is an immersive urban environment populated by Greed, Lust, Gluttony, Envy, gig workers and twelve voices from New York City’s financial spectrum. As the user wanders around this environment, she stumbles upon its inhabitants — from financial brokers to recent college grads to computer programmers and cultural workers —, gaining an understanding of their financial perspectives. It has been projected that the 2020s will be the decade of the “FinTech Revolution”. This marketing hyperbole is on the heels of many such revolutions sold on the broken promises of democratization and prosperity for all. FinTech for the Precariat asks a simple question: Who are the winners and losers in this “game”?
Ricardo Miranda Zúñiga is a new media artist. He approaches art as a social practice that seeks to establish dialogue in public spaces. Zúñiga received a B.A. in Practice of Arts and English Literature at University at California, Berkeley, and later an M.A. in Fine Arts a from Carnegie Mellon University. Born in San Francisco in the early Seventies in a family of immigrants from Nicaragua, Zúñiga’s practice explores such themes as immigration, discrimination, gentrification, globalization, and commodification. His works have been exhibited internationally, often behind the contexts of art galleries and museums.
LIPSTRIKE
live recording of online performance
digital video (1280 x 720), sound, color, 10’, 2021 [2016], France
Created by Chloé Desmoineaux
Originally created in 2016, Lipstrike is an online performance in Counter-Strike that uses an unusual device as a weapon: a lipstick. Each time the artist applies cosmetics on her lips, her gun unleashes a torrent of bullets. She broadcast her performances on Twitch, receiving thousands of snarky comments by angry gamers, which were eventually collected and published in a limited edition booklet. Five years later, the artist updated the original iteration for VRAL. One question remains: has anything changed since #Gamergate?
Interested in tactical media, hacking culture, and cyberfeminism, Chloé Desmoineaux creates media experiments through performances, installations and hijacked video games. She is especially concerned about the place given to women as well as dissident and “minority” people in the video game industry and she tries to create spaces of visibility and reflection to discuss these issues. She is a member of the Freesson collective which focuses on supporting creative practices, electronic music and organizing events and workshops around digital art and culture. Co-organizer of the Art Games Demos (2017-2919) initiative with Isabelle Arvers, Desmoineaux has curated several exhibitions about the culture, aesthetics and ideology of gaming in the past decade. Her work has been exhibited internationally. She led several workshops on alternative controllers, glitch, interactive animations, and video games. Desmoineaux lives and works in Marseille.
