Ad Minoliti
G.S.F.C. #3 (Geometrical Sci-Fi Cyborg)
G.S.F.C. #3 (Geometrical Sci-Fi Cyborg) belongs to a series of paintings that build upon Ad Minoliti’s exploration into feminist speculative fiction and the cyborg as a creature of contemporary reality and fiction. The cyborg painting, as she calls it, is made through a smearing of human and machine in which the composition of color landscape with outlines of anthropomorphized forms is stenciled and airbrushed onto canvas, then photographed and printed onto canvas. Once this is done, Minoliti goes back over the printed canvas with paint. Minoliti’s cyborg painting is an image of Donna Haraway’s metaphor of the cyborg–a part human, part machine hybrid mining the inseparable relationship we have to our technologies.
Ad Minoliti is a painter who combines the pictorial language of geometric abstraction with the perspective of queer theory. Engaging in a diversity of formats and media from easel painting to installation, she assumes painting not as a mere material practice, but rather as a visual set of ideas to approach normative categories of sexuality and biology. Throughout her work, geometrical forms and surreal landscapes serve to imagine a post-humanist setting in which feminist and gender theories can be applied to an open interpretation of painting, design, and art history.
Minoliti’s socially engaged project The Feminist School of Painting, a series of programs hosted during her 2018 residency at KADIST San Francisco, began to shift her concerns from canvas to classroom, initiating workshops and symposiums that interrogated historical narratives (in art and more generally) through a queer feminist lense.