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The project is seeking screen/web based artworks. artist collective (Alison Bennett, Travis Cox, Xanthe Dobbie & Mark Payne) invite artists to submit internet/screen based artworks that contribute to the ongoing global conversations about #QueerTech practices and perspectives.


The project will be both an online exhibition ( and a series of data-projections/installations. The data-projections will be screened at two venues: in Melbourne at Midsumma Testing Grounds, the Midsumma Festival’s annual queer digital art and performance art event; and at Brisbane Powerhouse as part of the MELT festival of queer arts & culture. will also be part of the Sydney Gay & Lesbian Mardi Gras festival. plan to continue to evolve the project through collaboration with other #QueerTech arts events around the globe in the future (artists can choose to opt out of their work being included in this and we’ll of course let you know if and when these other events happen!).


We conceive of ‘queer’ as an attitude and a strategy, a political/social affiliation and a cultural alliance. As outlined by David Getsy, ‘queer’ is an adjective, a modifier.

“Outlaw sensibilities, self-made kinships, chosen lineages, utopic futurity, exilic commitment, and rage at institutions that police the borders of the normal — these are among the attitudes that make up ‘queer’ in its contemporary usage […]  Perhaps the best way to understand the stance that self-nominates as queer is to see that it is, fundamentally, adjectival. It does not stand alone. Rather, it attaches itself to nouns, wilfully perverting that to which it is appended. It is a tactical modification – this name ‘queer’ – that invokes relations of power and propriety in its inversion of them. That is, its utterance brings with it two operations. First, it appropriates and affects the thing that it now describes (a queer what?). Second, this attachment of ‘queer’ to a noun necessarily cites the standards and assumptions against which it is posed (the presumed ‘normal’ that it abandons).”  – David Getsy 2016, Intolerability and its attachments, QUEER, Documents of Contemporary Art.

In the same way that the glitch cracks the hyperreal veneer of digital media to reveal its underlying architecture, ‘queer’ is a strategy that reveals the workings of the power structures of normalcy. The glitch is not an error but an artifact of the materiality of the system. It takes work to maintain the veneer. Indeed, there is no single queer strategy. That is the point – it is a diverse range of attitudes and positions that resist (or simply ignore) standardising regulation.

Recognising that “all technical decisions are political”, #QueerTech artistic interventions evade arbitrary normative practices within digital culture. (If one wants to ascribe to a unifying political goal…) #QueerTech art practices occupy virtual spaces as ‘utopic futurity’, as an extension of the queer body like a virtual mental prosthesis.

#QueerTech conversations and practices include:

  • Fiona Barnett, Zach Blas, Micha Cardenas, Jacob Gaboury, Jessica Marie Johnson & Margaret Rhee 2016, ‘QueerOS: A User’s Manual’ in Debates in the Digital Humanities 2016.
  • Also, FYI, check out Jacob Gaboury’s 2013 ‘Queer History of Computing’, Rhizome

Our intention is to contribute to an ongoing conversation rather than formulate a resolved statement; to be dialogical rather than didactic.

BTW, we are particularly interested in works that occupy the intersection of digital art and embodied performance and that work well on mobile screens.


“Internet art is a kind of art that uses the Internet as its mode of dissemination. The art is often interactive and/or participatory in nature and may use a number of different mediums. This method strays from the traditional gallery and museum system and gives even small artists a way of sharing their work with a large audience.Internet art can be created in all different types of media, including websites, software projects or gaming, streaming video or audio and networked performances. Internet art has its roots in various other genres, such as conceptual art, video art, performance art, street art, telematics art and kinetic art.”

Is the Web Browser Replacing the Art Gallery? | Idea Channel | PBS Digital Studios

Check out this compilation of interesting internet art projects here:


  • Works hosted on a website that can be embedded in the website and that can also translate to large scale data-projection. We will project the work via a data-projector connected to a laptop.
  • We particularly like works that are effective via a mobile phone screen. For example, Alison Bennett 2015, Skin Wrap, digital photography & online interactive


Yes, selection of work will be announced 1 December 2016. We want to ensure a balance of voices and projects.


NSFW content will be tagged #NSFW on the website. Unfortunately we will not be able to screen NSFW content at the launch events as they are outdoor public venues.


  • 15 November 2016: close of call for works
  • 1 December 2016: selected works announced
  • 15 January 2017: Project will go LIVE online and be featured in three Australian queer arts festivals: Midsumma Festival in Melbourne, Melt Queer Arts Festival in Brisbane, and the Sydney Gay & Lesbian Mardi Gras.



I have other questions!

Check out the Facebook group!