Feminist Representations in digital art
Beatriz Albuquerque and Mónica de Miranda
DOI:
https://doi.org/10.34629/rcdmt.vol.3.n.1.pp102-122Keywords:
Feminist art, Digital art, Artivism, New mediaAbstract
This article considers the relationship between feminist art, digital practices and representations of the feminine through a qualitative analysis of works by Portuguese artists Beatriz Albuquerque and Mónica de Miranda. Drawing on feminist critiques of art history, visual culture studies and reflections on new media, it proposes a reading of the works through four axes: body and gaze; technological mediation; memory, archive and coloniality; and strategies of resistance/counter-representation. This analysis argues that, although digital media expand possibilities for circulation and aesthetic experimentation, disputes over visibility, authorship and legitimation persist. By bringing together two Portuguese artists, the essay contributes to the discussions on feminist digital art in the Portuguese context, highlighting distinct ways of reconfiguring body, identity, belonging and power.
Downloads
References
Albuquerque, Beatriz. s.d. “Happy Birthday Mr. President.” Beatriz Albuquerque. Acedido a 12 de fevereiro de 2026. http://www.beatrizalbuquerque.com/ index.php?selected=artwork&year=2017.
-----. 2024. “Beatriz Albuquerque Interview @ Women’s History Month.” YouTube video, 1 de março de 2024. https://www.youtube.com/watch?v=fDhHqPetwxo
-----. 2025. “Tributo a Ana de Gonta Colaço: Ensaio Visual.” A Fonte: Fonte de Estímulo Intelectual, 10–15. https://icafg.pt/revista-a-fonte/.
Ballard, Susan, and Agnieszka Golda. 2015. “Feminism and Art: Unexpected Encounters.” Australian Feminist Studies, vol. 30, no. 84: 199–210. https://doi.org/10.1080/08164649.2015.1046713.
Chan, Jennifer. 2011. “Why Are There No Great Women Net Artists? Vague Histories of Female Contribution According to Video and Internet Art.” https://www.are.na/block/8127379.
Cox, Donna J., Ellen Sandor, e Janine Fron, eds. 2018. New Media Futures: The Rise of Women in the Digital Arts. Urbana: University of Illinois Press.
É um Oceano. 2022. “A Ilha de Mónica de Miranda, em Londres.” 10 de julho 2022. https://eumoceano.pt/boletim/a-ilha-de-monica-de-miranda-em-londres/.
Fischer, Stela. 2013. “Expressões de Género: A Resignificação do Feminismo nos Processos Criativos de Performers, Artistas Teatrais e Ativistas Latino-Americanas na Atualidade.” Seminário Internacional Fazendo Gênero 10. Fundação Bienal de Cerveira. “17.ª Bienal de Cerveira: 27 de julho a 14 de setembro 2013.” https://bienaldecerveira.pt/17a-bienal-de-cerveira-2/.
González, Jennifer. 2000. “The Appended Subject: Race and Identity as Digital Assemblage.” In Race in Cyberspace, editado por Beth E. Kolko, Lisa Nakamura, e Gilbert B. Rodman, 27–50. Nova Iorque: Routledge.
Grant, Catherine. 2011. “Fans of Feminism: Re-writing Histories of Second-wave Feminism in Contemporary Art. ”Oxford Art Journal, vol. 34, no. 2: 265–86. https://doi.org/10.1093/oxartj/kcr021.
hooks, bell. 1992. Black Looks: Race and Representation. Boston: South End Press.
Jones, Amelia, ed. 2003. The Feminism and Visual Culture Reader. Londres: Routledge.
Miranda, Mónica de. 2025. “About.” Mónica de Miranda. https://monicademiranda.org/about/
Mulvey, Laura. 1975. “Visual Pleasure and Narrative Cinema.” Screen, vol. 16, no. 3: 6–18. DOI: https://doi.org/10.1093/screen/16.3.6.
Nochlin, Linda. 1971. “Why Have There Been No Great Women Artists?” In Woman in Sexist Society: Studies in Power and Powerlessness, editado por Vivian Gornick e Barbara K. Moran, 480–510. Nova Iorque: Basic Books.
Nyambura, Muthoni. 2024. “Exploring Gender Representation in Digital Media Art: A Critical Analysis.” Research Output Journal of Education, vol. 3, no. 1: 9–14.
Oliveira, Mariana, e Ana Gabriela Macedo. 2022. “Mónica de Miranda: Uma Geografia dos Afectos.” In Mulheres, Artes e Ditadura: Diálogos Interartísticos e Narrativas da Memória, editado por Ana Gabriela Macedo, Lúcia Natalino, Mariana Oliveira, Joana Passos, e Marta Pereira, 209–18. Vila Nova de Famalicão: Húmus.
Parker, Rozsika, e Griselda Pollock. 2013. Old Mistresses: Women, Art and Ideology. 1981. Londres: I.B. Tauris.
Pereira, Ana Sofia, Vanessa Ribeiro-Rodrigues, Carla Cerqueira, e Célia Taborda. 2024. “Arte, Ciência e Ativismo em Convergência: Estratégias Criativas para Disseminação Científica Feminista. ”In Culturas, Ativismos e Mudanças Culturais, editado por Maria Manuel Baptista, Alexandre Rodolfo Alves de Almeida, e Helena Carla Gonçalo Ferreira, 237–46. Aveiro: Centro de Línguas, Literaturas e Culturas.
Pollock, Griselda. 1999. Differencing the Canon: Feminist Desire and the Writing of Art’s Histories. Londres: Routledge.
Ponder, Natalie. 2024. “Integrating NFTs into Feminist Art Practices: Actualizing the Disruptive Potential of Decentralized Technology.” Arts, vol. 13, no. 4: 124. DOI: https://doi.org/10.3390/arts13040124.
Reckitt, Helena, ed. 2018. The Art of Feminism: Images That Shaped the Fight for Equality, 1857–2017. São Francisco: Chronicle Books.
Schor, Mira, Emma Amos, Susan Bee, Johanna Drucker, María Fernández, Amelia Jones, Shirley Kaneda, Helen Molesworth, Howardena Pindell, Collier Schorr, e Faith Wilding. 1999. “Contemporary Feminism: Art Practice, Theory, and Activism—An Intergenerational Perspective.” Art Journal, vol. 58, no. 4: 8–29. DOI: https://doi.org/10.1080/00043249.1999.10791962.
Way, Jennifer. 2016. “Digital Art at the Interface of Technology and Feminism.” In A Companion to Digital Art, editado por Christiane Paul, 181–202. Chichester: Wiley Blackwell.
Wilson, Siona. 2008. “Destinations of Feminist Art: Past, Present, and Future.” Women’s Studies Quarterly, vol. 36, no. 1/2): 324–30. DOI: https://doi.org/10.1353/WSQ.0.0056.
Obras artísticas referidas:
Albuquerque, Beatriz. 2005. II. Videoarte/performance. http://www.beatrizalbuquerque.com/index.php?selected=videography&year =2005.
-----. 2013. VI. Videoarte/performance. http://www.beatrizalbuquerque.com/index.php?selected=videography&year= 2013.
-----. 2015. Happy Birthday Mr. President. Video-performance. http://www.beatrizalbuquerque.com/index.php?selected=videography&year =2015.
-----. 2023. Tributo à escultora Ana de Gonta Colaço: Ensaio Visual. Instalação visual/sonora e interativa no metaverso e no espaço físico. Residência artística The Critique Club, LAC/MUD Foundation, Miami; instalação performativa nas ruas do Porto.
Guerrilla Girls. 1989. Do Women Have to Be Naked to Get into the Met. Museum? Cartaz. https://www.guerrillagirls.com/projects.
-----. 2001. Sundance Stickers. Autocolantes/cartazes. https://www.guerrillagirls.com/projects.
-----. 2008. Museums Unfair to Men! Cartaz. https://www.guerrillagirls.com/projects.
Hershman Leeson, Lynn. 1984–1989. Deep Contact. Instalação interativa. https://www.lynnhershman.com/project/deep-contact/.
Miranda, Mónica de. 2007. Biting Nations. Vídeo. https://monicademiranda.org/film/biting-nations/.
-----. 2018. Beauty. Instalação imersiva/vídeo. https://monicademiranda.org/film/beauty/.
-----. 2022. Path to the Stars. Filme/vídeo-instalação. https://monicademiranda.org/film/path-to-the-stars/.
Perry, Sondra. 2016. Graft and Ash for a Three Monitor Workstation. Instalação/vídeo. https://sondraperry.com/Graft-and-Ash-for-a-Three-Monitor-Workstation.
Rego, Paula. 1998. Sem título, da série Aborto. Pintura. https://www.p55.art/blogs/p55-magazine/serie-aborto-de-paula-rego-expostas-na-armory-show
-----. Sem título n.º 5, da série Aborto. Pintura. https://www.p55.art/blogs/p55-magazine/serie-aborto-de-paula-rego-expostas-na-armory-show.
-----. 1998. Tríptico, da série Aborto. Pintura. https://www.artfund.org/our-purpose/art-funded-by-you/triptych-1998.
Downloads
Published
Issue
Section
License
Copyright (c) 2026 RHINOCERVS: Cinema, Dança, Música, Teatro
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Articles published or submitted to RHINOCERVS: Cinema, Dança, Música, Teatro are licensed according to Creative Commons Attribution License (CC BY-NC 4.0). Authors agree that:
Copyrights of all articles published are retained by authors with first publication copyright granted to the journal.
All articles are under the Creative Commons Attribution License recognizing the authorship of the publication and identifying that first publication took place in this journal.
Authors have the right to free distribute or make available in private or institutional pages the version published by RHINOCERVS: Cinema, Dança, Música, Teatro provided the original proper citation.
The journal only accepts articles not published previously (except in the form of an abstract or as part of academic thesis), that it is not under consideration for publication elsewhere. After published, the article cannot be published again partial or totally without the editorial board consent.
