<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom"><channel><title>Politics of the Gaze on Patrícia J. Reis — Media &amp; Installation Artist</title><link>https://patriciajreis.com/topics/politics-of-the-gaze/</link><description>Recent content in Politics of the Gaze on Patrícia J. Reis — Media &amp; Installation Artist</description><generator>Hugo</generator><language>en-US</language><lastBuildDate>Sun, 01 Mar 2026 00:00:00 +0000</lastBuildDate><atom:link href="https://patriciajreis.com/topics/politics-of-the-gaze/index.xml" rel="self" type="application/rss+xml"/><item><title>Sensorial Mechanisms</title><link>https://patriciajreis.com/projects/sensorial-mechanisms-2025-2026/</link><pubDate>Sun, 01 Mar 2026 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/sensorial-mechanisms-2025-2026/</guid><description>&lt;p&gt;Artists Dorota Walentynowicz and Patrícia J. Reis create a shared visual and conceptual space shaped by a soft yet firm negotiation of the gaze. The exhibition brings together a constellation of objects, images, and surfaces that do not fully reveal themselves. Instead, they flicker between presence and concealment—between the desire to be seen and the right to refuse visibility.&#10;Embedded within these gestures is an inquiry into the digital gaze: mediated seeing, synthetic vision, machine desire. The artists ask whether, even for a brief moment, we can step back from the flood of images that saturates our daily lives and reflect on the normative frameworks of seeing and being seen—frameworks that reinforce prejudice, capitalism, and colonial narratives.&#10;They direct the audience’s attention toward what remains unseen, shifting the gaze away from spectacle and toward its backstage. In doing so, they expose mechanisms of power, recover what has been forgotten, and open the possibility of re-reading the history of visual media and technology from a feminist perspective.&lt;/p&gt;</description></item><item><title>Display Island</title><link>https://patriciajreis.com/projects/display-island-2025/</link><pubDate>Fri, 23 Jan 2026 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/display-island-2025/</guid><description>&lt;p&gt;In Display Island, Reis focuses on the physical involvement of participants. The installation activates the viewers’ sensory systems and, in response to the excess of images dominating contemporary visual culture, proposes an alternative mode of engagement—one that operates not primarily through sight, but through bodily and auditory perception.&#10;The circular couch installation features a sound work delivered through sound showers shaped like lampshades. The piece takes the form of a spoken, spell-like manifesto. Through layered whispers and declarative voices, it invokes Medusa and the Odalisque as guardians of embodied difference, transforming a critique of patriarchy and the commodification of pleasure into a sensorial act of resistance and remembrance.&#10;Interwoven with the voice, a mystical noise is both heard and physically felt through transducer speakers embedded in the couch. In this way, Reis explores new forms of communication between humans and technology grounded in sensuality and intuition. Her works function as laboratories of embodied perception, in which the body is reclaimed as a full-fledged instrument for cognition and interaction with the world.&lt;/p&gt;</description></item><item><title>Traces of Control</title><link>https://patriciajreis.com/projects/traces-of-control/</link><pubDate>Tue, 12 Aug 2025 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/traces-of-control/</guid><description>&lt;p&gt;Within their artistic research Patrícia J. Reis and Ruth Schnell explore the far-reaching societal and ethical impacts of artificial intelligence, as well as its technological influence on our lived environment. Their interactive mixed media installation expands the physical exhibition into a hybrid experiential space by interweaving virtual and physical layers and adding a digital dimension to real objects and artefacts.&lt;/p&gt;</description></item><item><title>"The Medusa v. The Odalisque"</title><link>https://patriciajreis.com/projects/the-medusa-v-the-odalisque-2021/</link><pubDate>Mon, 09 Aug 2021 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/the-medusa-v-the-odalisque-2021/</guid><description>&lt;p&gt;“The Medusa v. The Odalisque” is the artists&amp;rsquo; ongoing research towards a critical reflection on the subject of visual pleasure in the age of digital entities. The exhibition consists of a collection of objects and images which engage the visitors in a spectacle of gazes.&lt;/p&gt;</description></item><item><title>Through the hole is the way "Out-of-This World"</title><link>https://patriciajreis.com/projects/through-the-hole-is-the-way-out-of-this-world-2019/</link><pubDate>Mon, 29 Jul 2019 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/through-the-hole-is-the-way-out-of-this-world-2019/</guid><description>&lt;p&gt;Through the hole is the way ‘Out-of-This-World’ is a site-specific interactive installation presented by media artists Patricia J. Reis in collaboration with Lukas Vincent Walcher, first created for the open-air segment of the experimental station Kulturdrogerie in Vienna and, later installed and adapted to the nature site-specificity of Flora Pondtemporary, Stiftsteiche in St. Florian, Austria.&lt;/p&gt;</description></item><item><title>Cutting the body</title><link>https://patriciajreis.com/projects/cutting-the-body/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/cutting-the-body/</guid><description>&lt;p&gt;A small video projector is displaying a video on a wall. A small film cutter (guillotine) is placed in between the projector and the projection. The guillotine is assembled with an automatic mechanism (composed by an Arduino and a small stepper motor) programed to move its handle upwards and downwards. The movement is therefore synchronized with the narrative in the video, that shows a long shot of a performer (the artist), stepping in a room, facing the camera, and placing one part of her body (head, arms or legs) on a small white bench. When the guillotine handle moves downwards, obscuring the projection, the performer is placing one part of her body on the bench. When the guillotine handle moves upwards, the projection is revealed again, showing the performer without the part of the body previously placed on the bench. The video and the mechanism continues until all parts of the body are cut off. The installation is always in loop.&lt;/p&gt;</description></item><item><title>Digital skin</title><link>https://patriciajreis.com/projects/digital-skin/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/digital-skin/</guid><description>&lt;p&gt;Writing you a love e-mail in a hot Sunday afternoon: you reply with a flower made of my digital skin (2011) is a digital photo, made of two computer-assisted compositions. On the left we see a self-representation of the artist, naked, seating in her living room and interacting with a laptop. The skin of her body was intentionally removed from the picture and replaced with the picture’s background. On the right, the skin of the body is shown, having been cut down in little pieces and rearranged as a flower bouquet against the background. Above the bouquet we can read the sentence that titles the piece.&lt;/p&gt;</description></item><item><title>FAM Budapest action</title><link>https://patriciajreis.com/projects/budapest-museum/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/budapest-museum/</guid><description>&lt;p&gt;F.A. Budapest Museum is a performance artist that took place in the Fine Art Museum in Budapest, August, 2006. Back to that time, the entrance to the permanent exhibition in the Museum was for free. Although, taking pictures would require buying a ticket (Photo Ticket) and using it in the chest in order to the museum vigilant (keeper) recognize it instantly.&lt;/p&gt;</description></item><item><title>In the studio</title><link>https://patriciajreis.com/projects/in-the-studio/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/in-the-studio/</guid><description>&lt;p&gt;On the night of December 4th, 1956, at the emblematic Heroes Square, in Budapest, there was a silent demonstration organized by women. Witnesses have confirmed a total of 20,000 women, dressed in black, holding candles, flowers, black flags, and Hungarian flags, protesting against the regime. Military in artillery cars were called to clear the streets. None of the men soldiers were able to use violence against these women, as they remained unharmed and indifferent to military presence. This was one of the first revolutions won by the people.&#10;There isn’t any photographic document of this event. The artist thus has decided to illustrate the event by using this image of an unharmed and strong woman. This project was the result of an artist residency in Budapest.&lt;/p&gt;</description></item><item><title>Inside out: myself as Diana</title><link>https://patriciajreis.com/projects/myself-as-diana/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/myself-as-diana/</guid><description>&lt;p&gt;Inside out: Myself as Diana is an interactive installation that allows participants to see another reality behind a wall.&#10;A small monitor is placed on a table, leaning to a wall, inviting manipulation from the interactor.&#10;By doing so, he/she can see a video image representing an intimate scene, namely a woman bathing.&#10;The interactor can manipulate the screen freely on the wall’s surface to watch small parts of the image, in order to compose the whole represented action.&#10;The screen works as an access window to a virtual and intimate space, a tangible interface between two realities, turning interactivity into a voyeuristic experience.&lt;/p&gt;</description></item><item><title>Odalisques #1</title><link>https://patriciajreis.com/projects/odalisques/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/odalisques/</guid><description>&lt;p&gt;A monitor is installed following a photograph of a women reclining on a sofa, with her back to the viewer. The participant might move freely (all directions) the monitor in order to perceive a different image, from that in the photograph. Although the moving image that appears on the screen corresponds to the still shot, the video works as a window enabling the observer to see beyond it. By moving the monitor, the observer becomes a voyer.&lt;/p&gt;</description></item><item><title>Odalisques #2</title><link>https://patriciajreis.com/projects/odalisques-2/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/odalisques-2/</guid><description>&lt;p&gt;A monitor is installed featuring a photograph of two female figures with their backs to the viewer. The participant can freely move the monitor – in all directions – to see a different image than that in the photograph. Although the moving image that appears on the screen corresponds to the still shot, the video operates as a window, enabling the viewer to see beyond it – to virtually enter the invisible side of the image.&lt;/p&gt;</description></item><item><title>Patrícia's bath</title><link>https://patriciajreis.com/projects/patricia-bath/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/patricia-bath/</guid><description>&lt;p&gt;“The title O Banho de Patrícia refers to the myth of Diana and Actaeon, and departs from representations of the mythological narratives, resumed during the Ancient Regime by painters such as François Boucher or Antoine-Jean Gros. In the photograph, the viewer progresses in space and arrives to the place where someone is taking a bath.&lt;/p&gt;</description></item><item><title>Penetrating the black box</title><link>https://patriciajreis.com/projects/penetrating-black-box/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/penetrating-black-box/</guid><description>&lt;p&gt;The installation proposes the photographic apparatus as a “black box” and as a metaphor to reflect upon the relation between the private and public space of the image. Inspired by Vilém Flusser’s writings on photography, the artist employs his concepts of faith and magic, event and happening, towards the “coded cameras”, questioning the existence of the political space of the digital image. In the installation Penetrating the black box, Reis creates a “scene” consisting of a mechanical apparatus that is programmed in order to automatically trigger two photo digital cameras (at different moments) inside a black box. The output image from the cameras is transmitted in real-time onto two monitors.&lt;/p&gt;</description></item><item><title>Untitled project #1</title><link>https://patriciajreis.com/projects/untitled-project-1/</link><pubDate>Thu, 04 Jan 2018 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/untitled-project-1/</guid><description>&lt;p&gt;Untitled project is a work-in-progress photographic project dealing with the dichotomy foreground/background. The self-representation of the artist as a body or shape is cut off in order to reveal a digital gold background. The assemblage of bodies composes a grotesque narrative that demystifies the visual pleasure usually given by a female body representation.&lt;/p&gt;</description></item><item><title>The bath</title><link>https://patriciajreis.com/projects/the-bath/</link><pubDate>Mon, 06 Jul 2015 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/the-bath/</guid><description>&lt;h4 id="the-bath"&gt;THE BATH&lt;/h4&gt;&#10;&lt;h4 id="2008"&gt;2008&lt;/h4&gt;&#10;&lt;p&gt;Variable [Video projection]&lt;/p&gt;&#10;&lt;p&gt;The main character (a self-representation of the artist) performs in front of a mirror in a domestic setting. The “real” movements of the character do not correspond to the representation being reflected in the mirror. This exercise rehearses a character already explored in other projects, where she struggles with her own unmoving pose while waiting to be represented.&lt;/p&gt;</description></item><item><title>Divorced… Wedding Dress</title><link>https://patriciajreis.com/projects/divorced-wedding-dress/</link><pubDate>Mon, 06 Apr 2015 00:00:00 +0000</pubDate><guid>https://patriciajreis.com/projects/divorced-wedding-dress/</guid><description>&lt;p&gt;&lt;em&gt;Divorced women wearing their wedding dresses&lt;/em&gt;&lt;/p&gt;&#10;&lt;p&gt;For this project, the artist invited divorced women to wear their wedding dresses again and pose for a portrait in a professional photography studio specialising in wedding photography.&lt;/p&gt;</description></item></channel></rss>