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Review: ‘Radical Software: Women, Art and Computing’ at MUDAM | Observer
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class="menu-item menu-item-type-post_type menu-item-object-page menu-item-1321435"><a href="https://observer.com/advertise/">Advertise With Us</a><span class="chevron-toggle"></span><div class="rule"></div></li> </ul> </li> </ul></div> <a href="/subscribe" class="mobile-subscribe">Newsletters</a> </div> </div> </div> </header> <div id="content" class="site-content"> <!-- Hashtag Labs Ad observer_leaderboard_atf --> <div class="ad-wrapper ad-bottom-margin ad-leaderboard ad-has-disclaimer htlad-observer_leaderboard_atf" id="observer_leaderboard_atf"></div> <!--a wrapper to include the content + sidebar--> <div id="single-post-wrapper"> <div id="primary" class="content-area"> <main id="main" class="site-main" role="main"> <div class="article-wrap"> <article id="post-1462849" class="post-1462849 post type-post status-publish format-standard has-post-thumbnail tag-computing tag-exhibitions tag-mudam-luxembourg tag-tamiko-thiel channel-arts channel-art-reviews channel-museums nyo_person-charlotte-johannesson nyo_person-ada-lovelace nyo_person-charles-babbage nyo_person-rosemarie-trockel nyo_person-phyllis-segura nyo_person-beryl-korot nyo_person-ira-schneider nyo_person-michelle-cotton nyo_person-vera-molnar-2 nyo_person-gretchen-bender nyo_person-dara-birnbaum nyo_person-doris-chase" data-post="" data-title="An Exhibition in Luxembourg Takes a Gendered Look at Artists’ Engagement With Early Computing" data-url="" data-page-url="/2024/11/exhibition-review-radical-software-women-art-and-computing-1960-1991-mudam-luxembourg/" data-date="2024-11-07 15:55:32" data-date-iso="2024-11-07T15:55:32-05:00" data-author="Frances Forbes-Carbines" data-coauthors="Frances Forbes-Carbines" data-channels="Arts, Art Reviews, Museums" data-piped-channels="Arts|Art Reviews|Museums" > <header class="entry-header"> <div class="entry-teaser"> <a href="https://observer.com/arts/" aria-label="Read more articles on Arts">Arts</a><span> • </span><a href="https://observer.com/art-reviews/" aria-label="Read more articles on Art Reviews">Art Reviews</a> </div> <h1 class="entry-title" itemprop="headline">An Exhibition in Luxembourg Takes a Gendered Look at Artists’ Engagement With Early Computing</h1> <h2 class="dek">The timing of "Radical Software" aligns with a renewed interest in cyberfeminism, which highlights the role women played in the creation of digital technologies and engages critically with the entanglement of technology and power.</h2> <div class="entry-meta nyo-social-comments nyo-social-comments-above"> By <span class="author" itemprop="author"><a rel="author" class="url fn n" href="https://observer.com/author/frances-forbes-carbines/" title="View All Posts by Frances Forbes-Carbines">Frances Forbes-Carbines</a></span> • <span class="entry-date"><time itemprop="datePublished" datetime="2024-11-07">11/07/24 3:55pm</time></span> <svg aria-hidden="true" style="position: absolute; width: 0; height: 0; overflow: hidden;" 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2.158-5.729m2.355-.048c-1.089 1.77-1.91 3.453-2.463 5.777h4.927c-.534-2.246-1.337-3.948-2.464-5.777m2.368.069c1.013 1.812 1.733 3.76 2.146 5.708h4.654c-1.232-2.816-3.762-4.958-6.8-5.708" fill-rule="evenodd" clip-rule="evenodd"/> </symbol> </defs> </svg> <ul class="social-icons large share-buttons" id="sharing"> <li class="facebook"> <a data-label="facebook" data-social-target="https://observer.com/2024/11/exhibition-review-radical-software-women-art-and-computing-1960-1991-mudam-luxembourg/" href="https://www.facebook.com/sharer.php?u=https://observer.com/2024/11/exhibition-review-radical-software-women-art-and-computing-1960-1991-mudam-luxembourg/" title="Share on Facebook" target="_blank"> <svg class="social-icon"><use xlink:href="#icon-facebook"></use></svg> </a> </li> <li class="twitter"> <a data-label="twitter" data-social-target="https://observer.com/2024/11/exhibition-review-radical-software-women-art-and-computing-1960-1991-mudam-luxembourg/" 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decoding="async" class="size-full-width wp-image-1462856" src="https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?quality=80&w=970" alt="In a spacious, light-filled gallery with large windows and high ceilings, multiple digital artworks are displayed on freestanding black panels. The artworks feature colorful, pixelated images, including a rainbow flowing out of a computer and abstract patterns, with natural light streaming in from the windows above." width="970" height="647" srcset="https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg 8224w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=300,200 300w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=768,512 768w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=635,423 635w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=1536,1024 1536w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=2048,1365 2048w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=970,647 970w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=320,213 320w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=1920,1280 1920w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?resize=50,33 50w" sizes="(max-width: 600px) 300px, 620px" /></a><figcaption id="caption-attachment-1462856" class="wp-caption-text">An installation view of “Radical Software: Women, Art and Computing 1960-1991.” <span class="media-credit">Mareike Tocha, courtesy Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and Kunsthalle Wien, Vienna</span></figcaption></figure> <p>“Don’t let anyone tell you that you can’t do anything when it comes to technology,” artist Tamiko Thiel says at a recent panel discussion when I ask what message they would wish to convey to new generations of women working in technology. The women on the panel were all artists who’ve worked in technology—as computer programmers, developers, inventors and scientists. Many had studied at American universities, often helping male colleagues with their PhD research before getting involved in programming themselves.</p> <section class="wp-block-observer-newsletters observer-newsletters--in-content"> <form class="newsletters-block__container" method="post" action="#" id="newsletter-674794ac562b41.91274799" data-form="subscribe-newsletter" data-recaptcha-key="6LexvRggAAAAAF1HvCWrHtG4UAa7m0WIdyIgstAo" data-form-action="https://observer.com/newsletter-subscribe.json"> <div class="observer-newsletters__in-content-icon"> <svg fill="none" xmlns="http://www.w3.org/2000/svg" viewBox="0 0 51 51" width="50" height="50"><path d="M18.124 15.961C23.25 8.783 30.096 4.967 33.682 7.305a4.04 4.04 0 0 1 1.013.97c0 .028 8.3 16.017 8.3 16.017l4.634 2.989a6.39 6.39 0 0 1 1.793 1.732c.472.684.798 1.45.96 2.253.161.804.154 1.63-.02 2.432a6.075 6.075 0 0 1-.995 2.24l-.209.291c-.977 1.355-2.475 2.288-4.17 2.598a6.827 6.827 0 0 1-4.883-.943L32.662 48.32c-1.095 1.285-3.197 2.564-5.792 1.059a3.834 3.834 0 0 1-1.15-1.093 3.63 3.63 0 0 1-.587-1.444 3.763 3.763 0 0 1 .008-1.55 3.85 3.85 0 0 1 .635-1.427l6.556-9.208s-15.5-1.174-15.557-1.196a3.812 3.812 0 0 1-1.35-.552c-1.842-1.19-2.502-3.688-1.865-7.035.573-3.082 2.2-6.572 4.564-9.914Zm29.349 19.182.208-.292c.334-.467.567-.992.687-1.545a4.09 4.09 0 0 0 .012-1.678 4.18 4.18 0 0 0-.665-1.555 4.407 4.407 0 0 0-1.239-1.193l-4.002-2.592-5.282 7.405 4.002 2.592a4.64 4.64 0 0 0 1.624.655c.581.114 1.18.119 1.764.013a4.65 4.65 0 0 0 1.634-.631 4.42 4.42 0 0 0 1.257-1.179Zm-20.03 9.809a1.96 1.96 0 0 0-.324 1.528c.108.53.433.998.904 1.3.472.302 1.05.413 1.608.31A2.158 2.158 0 0 0 31 47.23l7.42-10.405-2.983-1.93-.788-.06-7.205 10.117Zm7.832-12.009 5.757-8.072-5.491-10.657c-.533 2.993-2.091 6.55-4.582 10.04-2.49 3.49-5.386 6.18-8.108 7.758l12.424.931ZM18.188 31.66c2.768-.171 7.275-3.143 11.092-8.497s5.056-10.42 4.205-12.94a2.354 2.354 0 0 0-.877-1.185 2.55 2.55 0 0 0-1.44-.47c-2.746 0-7.42 2.989-11.347 8.497-2.212 3.099-3.823 6.34-4.263 9.175-.863 5.42 2.63 5.42 2.63 5.42Z" fill="#000"/><path d="M25.364 16.165a5.726 5.726 0 0 1 2.148.01c.708.14 1.38.412 1.976.8.11.073.204.166.276.272a.941.941 0 0 1 .14.73.947.947 0 0 1-.158.347.998.998 0 0 1-.285.263 1.047 1.047 0 0 1-.767.133 1.046 1.046 0 0 1-.364-.15 3.572 3.572 0 0 0-1.25-.503 3.648 3.648 0 0 0-1.355-.01 3.574 3.574 0 0 0-1.257.486c-.381.238-.71.546-.966.906s-.436.763-.528 1.189a3.152 3.152 0 0 0-.01 1.29c.086.427.26.834.51 1.197.25.363.574.675.952.92a.972.972 0 0 1 .382.48c.07.194.074.405.01.602a.969.969 0 0 1-.37.49 1.048 1.048 0 0 1-.601.186 1.026 1.026 0 0 1-.58-.165 5.305 5.305 0 0 1-2.01-2.363 4.999 4.999 0 0 1-.29-3.028 5.165 5.165 0 0 1 1.527-2.67 5.592 5.592 0 0 1 2.83-1.412h.04Zm-8.491-6.914h-.098c-.25 0-.493-.088-.679-.248a.95.95 0 0 1-.329-.617l-.782-7.234a.919.919 0 0 1 .21-.725c.083-.1.188-.185.306-.247a1.05 1.05 0 0 1 1.14.105.974.974 0 0 1 .36.668l.776 7.24a.933.933 0 0 1-.222.707c-.17.199-.414.325-.682.351ZM3.771 7.763c.149-.214.38-.363.644-.414.264-.052.538-.002.764.138l7.06 4.41a.974.974 0 0 1 .396.482.922.922 0 0 1 .014.611.969.969 0 0 1-.376.496 1.05 1.05 0 0 1-.613.182 1.07 1.07 0 0 1-.58-.155l-7.06-4.41a.961.961 0 0 1-.415-.622.928.928 0 0 1 .166-.718ZM1.61 19.54l8.214-1.406c.265-.045.538.011.759.158.221.146.372.37.42.622a.93.93 0 0 1-.166.723c-.154.21-.389.354-.654.4l-8.207 1.405h-.18c-.258.007-.51-.08-.703-.243A.933.933 0 0 1 .97 19.88a1.03 1.03 0 0 1 .646-.358l-.005.017Z" fill="#000"/></svg> </div> <div class="observer-newsletters__in-content-inner"> <header class="newsletters-block__header"> <h2 class="newsletters-block__title"> Sign Up For Our Daily Newsletter </h2> </header> <div class="newsletters-block__form"> <input type="hidden" name="action" value="subscribe_newsletter"> <input type="hidden" name="newsletters[]" value="newsletter-daily" id="newsletter-daily"> <div class="newsletters-block__fields wp-block-button"> <input class="newsletters-block__input" aria-label="Email Address" placeholder="Email Address" type="email" name="email" required=""> <button class="wp-block-button__link in_article_single_newsletter_button" type="submit"> Sign Up </button> </div> <p class="newsletter-block__success"> Thank you for signing up! </p> <p class="newsletter-block__error"></p> <p class="newsletters-block__disclaimer"> By clicking submit, you agree to our <a href="http://observermedia.com/terms">terms of service</a> and acknowledge we may use your information to send you emails, product samples, and promotions on this website and other properties. You can opt out anytime. </p> </div> <a href="https://observer.com/subscribe/" class="newsletters-block__see-all in_article_single_newsletter_see_all_link"> See all of our newsletters </a> </div> </form> </section> <p>Before visiting “Radical Software: Women, Art and Computing 1960-1991” at Mudam Luxembourg, I didn’t know that it was women, not men, who were the very first computer programmers. “In the days before computers existed, ‘computer’ programming was considered admin and therefore deemed women’s work,” explained curator <a href="https://observer.com/person/michelle-cotton/" title="Michelle Cotton" class="company-link">Michelle Cotton</a>. “The programming would involve tasks such as plotting the path of a comet or other astronomical body.” For an example of this early computing, look no further than <a href="https://observer.com/person/ada-lovelace/" title="Ada Lovelace" class="company-link">Ada Lovelace</a>, daughter of poet Lord Byron. She’s considered to be the world’s first computer programmer and famously worked closely with mathematician, philosopher and mechanical engineer <a href="https://observer.com/person/charles-babbage/" title="Charles Babbage" class="company-link">Charles Babbage</a>, who is credited with inventing the first mechanical computer—the Difference Engine—and later, the Analytical Engine, which was programmed using a principle openly borrowed from the Jacquard loom.</p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_1" id="observer_article_instream_mobile_1"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_1" id="observer_article_instream_dsk_1"></div> <blockquote><p><em><strong>SEE ALSO: <a href="https://observer.com/2024/11/art-review-charles-atlas-about-time-ica-boston/" data-lasso-id="2635441">One Fine Show – ‘Charles Atlas, About Time’ at ICA Boston </a></strong></em></p></blockquote> <p>Examples of the act of weaving, by hand or on a loom, are found throughout “Radical Software.” A work by artist <a href="https://observer.com/person/charlotte-johannesson/" title="Charlotte Johannesson" class="company-link">Charlotte Johannesson</a>, <i>I’m No Angel</i>, appears as a woven tapestry: the cartoonish figure of an angel flanks Mickey Mouse. Nearby, a work by artist <a href="https://observer.com/person/rosemarie-trockel/" title="Rosemarie Trockel" class="company-link">Rosemarie Trockel</a> shows a repeating printed design with the appearance of woven fabric.</p> <p>The exhibition takes place in a country where technology plays an enormous role: Luxembourg is one of the fintech capitals of Europe, a hub of major tech companies and home to a huge number of A.I. start-ups. Telling the story of technology in the arts is particularly relevant here, and the exhibition has attracted an interested and knowledgeable audience.</p> <figure id="attachment_1462859" aria-describedby="caption-attachment-1462859" style="width: 970px" class="wp-caption aligncenter"><a href="https://observer.com/2024/11/exhibition-review-radical-software-women-art-and-computing-1960-1991-mudam-luxembourg/lhl_x-ray-woman_hr/" rel="attachment wp-att-1462859" data-lasso-id="2635442"><img decoding="async" class="lazyload size-full-width wp-image-1462859" src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" data-src="https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?quality=80&w=970" alt="A painting shows a translucent figure of a woman with an X-ray-like view of her body, revealing various internal elements, including colorful shapes and symbols arranged inside her torso. The figure has a neutral expression and is set against a mostly gray and white background." width="970" height="1858" data-srcset="https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg 2631w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=157,300 157w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=768,1471 768w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=313,600 313w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=802,1536 802w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=1069,2048 1069w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=970,1858 970w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=320,613 320w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=1920,3677 1920w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=26,50 26w" sizes="(max-width: 600px) 300px, 620px" /><noscript><img decoding="async" class="lazyload size-full-width wp-image-1462859" src="https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?quality=80&w=970" alt="A painting shows a translucent figure of a woman with an X-ray-like view of her body, revealing various internal elements, including colorful shapes and symbols arranged inside her torso. The figure has a neutral expression and is set against a mostly gray and white background." width="970" height="1858" srcset="https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg 2631w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=157,300 157w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=768,1471 768w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=313,600 313w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=802,1536 802w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=1069,2048 1069w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=970,1858 970w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=320,613 320w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=1920,3677 1920w, https://observer.com/wp-content/uploads/sites/2/2024/11/LHL_X-Ray-Woman_HR.jpg?resize=26,50 26w" sizes="(max-width: 600px) 300px, 620px" /></noscript></a><figcaption id="caption-attachment-1462859" class="wp-caption-text">Lynn Hershman Leeson, <em>X-Ray Woman</em>. <span class="media-credit">Courtesy Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and Kunsthalle Wien, Vienna</span></figcaption></figure> <p>While the overarching theme is computing, “Radical Software” is principally an analog exhibition about digital art. There are more than a hundred works by fifty artists (including <a href="https://observer.com/person/gretchen-bender/" title="Gretchen Bender" class="company-link">Gretchen Bender</a>, Vera Molnár, <a href="https://observer.com/person/doris-chase/" title="Doris Chase" class="company-link">Doris Chase</a> and <a href="https://observer.com/person/dara-birnbaum/" title="Dara Birnbaum" class="company-link">Dara Birnbaum</a>) spanning painting, sculpture, installation works, film, performance art pieces and computer-generated drawings and texts. There’s a distinct focus on art from the decades preceding the rise of the World Wide Web and the resultant proliferation of digital information and images that shaped artistic production and visual culture in the following decades.</p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_2" id="observer_article_instream_mobile_2"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_2" id="observer_article_instream_dsk_2"></div> <p>Accordingly, the show is titled after the video magazine that <a href="https://observer.com/person/beryl-korot/" title="Beryl Korot" class="company-link">Beryl Korot</a> started with fellow artists Phyllis (Gershuny) Segura and <a href="https://observer.com/person/ira-schneider/" title="Ira Schneider" class="company-link">Ira Schneider</a> in 1970. They adopted the term software (as opposed to hardware) as a metaphor and powerful tool for social change. The magazine’s wide-ranging editorial model and mission to serve as “an evolving handbook of technology,” providing access to and decentralizing information, predated the modern internet by roughly twenty years.</p> <p>“The history of artists’ experiments with technology is also, to an extent, a history of misuse,” writes exhibition curator Michelle Cotton, artistic director of Kunsthalle Wien, in the catalog essay. “If the computer was intended as a machine for calculating, for thinking—as its Latin root <i>putare </i>suggests—then its misuse in art history is no exception. Whether in drawing or film, text or performance, artists shifted the parameters, exploiting the machine’s capacity for randomization and locating its proclivity for the surreal, the chaotic and the disorderly … If [the computer] represented a more scientific, rational, efficient, productive and “smart” future made possible via technology, then the history of art reveals how it was co-opted for absurd and wildly eccentric projects, often edged with skepticism and critique.”</p> <figure id="attachment_1462857" aria-describedby="caption-attachment-1462857" style="width: 970px" class="wp-caption aligncenter"><a href="https://observer.com/2024/11/exhibition-review-radical-software-women-art-and-computing-1960-1991-mudam-luxembourg/2024-09-19_mudam-073_edit/" rel="attachment wp-att-1462857" data-lasso-id="2635443"><img decoding="async" class="lazyload size-full-width wp-image-1462857" src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" data-src="https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?quality=80&w=970" alt="Inside a gallery space, a small stack of television monitors displaying bright, distorted images stands near a large window that looks out onto a green, tree-lined outdoor scene. On the adjacent wall are three framed works in a row, each with accompanying labels." width="970" height="647" data-srcset="https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg 8146w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=300,200 300w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=768,512 768w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=635,423 635w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=1536,1024 1536w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=2048,1365 2048w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=970,647 970w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=320,213 320w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=1920,1280 1920w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=50,33 50w" sizes="(max-width: 600px) 300px, 620px" /><noscript><img decoding="async" class="lazyload size-full-width wp-image-1462857" src="https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?quality=80&w=970" alt="Inside a gallery space, a small stack of television monitors displaying bright, distorted images stands near a large window that looks out onto a green, tree-lined outdoor scene. On the adjacent wall are three framed works in a row, each with accompanying labels." width="970" height="647" srcset="https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg 8146w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=300,200 300w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=768,512 768w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=635,423 635w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=1536,1024 1536w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=2048,1365 2048w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=970,647 970w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=320,213 320w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=1920,1280 1920w, https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-073_edit.jpg?resize=50,33 50w" sizes="(max-width: 600px) 300px, 620px" /></noscript></a><figcaption id="caption-attachment-1462857" class="wp-caption-text">“Radical Software” is principally an analog exhibition about digital art. <span class="media-credit">Mareike Tocha, courtesy Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and Kunsthalle Wien, Vienna</span></figcaption></figure> <p>“Radical Software” follows a renewed interest in the post-internet discourse of cyberfeminism, which highlights the role that women played in the creation of new digital technologies and engages critically with the entanglement of technology and power structures. The aforementioned catalog contextualizes this art history within the social and scientific legacy of computing and includes a timeline that traces its origins from the first algorithm written by Ada Lovelace in 1843 and the women working on the industrial looms of 19th-century textile mills to the computational work done by hundreds of female mathematicians working at NASA in the 1950s and 1960s. The exhibition also engages with contemporary questions of how technology interfaces with issues of identity and equality.</p> <p>Far from being a technophobe but unadept at computer programming, I was fascinated by “Radical Software.” The artists’ breadth of imagination is impressive and strong, and their stories, repeated in the exhibition catalog, inspire and motivate women wanting to work in technology or those who merely use technology on a daily basis.</p><div data-ad="1" class="ad-wrapper ad-top-margin ad-has-disclaimer ad-incontent ad-mobile htlad-observer_article_instream_mobile_3" id="observer_article_instream_mobile_3"></div><div class="ad-wrapper ad-top-margin ad-desktop ad-has-disclaimer ad-incontent htlad-observer_article_instream_dsk_3" id="observer_article_instream_dsk_3"></div> <p><b>“</b><a target="_blank" target="_blank" rel="noopener" href="https://www.mudam.com/exhibitions/radical-software" data-lasso-id="2635444"><b>Radical Software: Women, Art & Computing 1960-1991</b></a><b>,” organized by Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean and Kunsthalle Wien, Vienna, runs through February 2, 2025.</b></p> </p> <img itemprop="image" src="https://observer.com/wp-content/uploads/sites/2/2024/11/2024.09.19_MUDAM-001_edit.jpg?quality=80&w=970" alt="An Exhibition in Luxembourg Takes a Gendered Look at Artists’ Engagement With Early Computing" style="display:none;width:0;"> </div><!-- .entry-content --> <footer class="entry-meta"> </footer><!-- .entry-meta --> </article><!-- #post-## --> <div class="breadcrumbs"> <span class="before-text"> Filed Under:</span> <a href="https://observer.com/arts/" aria-label="Read articles filed under Arts">Arts</a>, <a href="https://observer.com/art-reviews/" aria-label="Read articles filed under Art Reviews">Art Reviews</a>, <a href="https://observer.com/museums/" aria-label="Read articles filed under Museums">Museums</a>, <a href="https://observer.com/person/charlotte-johannesson/" aria-label="Read articles filed under Charlotte Johannesson">Charlotte Johannesson</a>, <a href="https://observer.com/person/ada-lovelace/" aria-label="Read articles filed under Ada Lovelace">Ada Lovelace</a>, <a href="https://observer.com/person/charles-babbage/" aria-label="Read articles filed under Charles Babbage">Charles Babbage</a>, <a href="https://observer.com/person/phyllis-segura/" aria-label="Read articles filed under Phyllis Segura">Phyllis Segura</a>, <a href="https://observer.com/person/ira-schneider/" aria-label="Read articles filed under Ira Schneider">Ira Schneider</a>, <a href="https://observer.com/person/michelle-cotton/" aria-label="Read articles filed under Michelle Cotton">Michelle Cotton</a>, <a href="https://observer.com/tag/mudam-luxembourg/" aria-label="Read articles filed under Mudam Luxembourg">Mudam Luxembourg</a>, <a href="https://observer.com/tag/tamiko-thiel/" aria-label="Read articles filed under Tamiko Thiel">Tamiko Thiel</a>, <a href="https://observer.com/person/beryl-korot/" aria-label="Read articles filed under Beryl Korot">Beryl Korot</a>, <a href="https://observer.com/person/vera-molnar-2/" aria-label="Read articles filed under Vera Molnár">Vera Molnár</a>, <a href="https://observer.com/person/doris-chase/" aria-label="Read articles filed under Doris Chase">Doris Chase</a>, <a href="https://observer.com/tag/computing/" aria-label="Read articles filed under computing">computing</a>, <a href="https://observer.com/person/gretchen-bender/" aria-label="Read articles filed under Gretchen Bender">Gretchen Bender</a>, <a href="https://observer.com/person/rosemarie-trockel/" aria-label="Read articles filed under Rosemarie Trockel">Rosemarie Trockel</a>, <a href="https://observer.com/person/dara-birnbaum/" aria-label="Read articles filed under Dara Birnbaum">Dara Birnbaum</a>, <a href="https://observer.com/tag/exhibitions/" aria-label="Read articles filed under Exhibitions">Exhibitions</a> </div> <div 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