War by any means. Mute Magazine, Rose-Anne Gush examines Sidsel Meineche Hansen’s Second Sex War through the lens of the female body and its concealed labour power in the high-tech gaming and porn spectacle

Second Sex War alludes to the problem of the place of the female in the concept and reality of women, and attempts to see beyond it. It asks us to question the currency of sexually affective imagery, its production, circulation and consumption as well as the relationship between the human body and the automation of certain production processes. The transformation of art remains within this context. However, it does this in a somewhat academic way, as a conceptual puzzle: it makes us think but not speculate or imagine. Can we consider what is virtual and real in virtual reality? Why is it that our present moment is obsessed with techno-fetishism as a programmatic way out of our current immiseration?[10] Hansen seems to be staking something else explicitly. The representation of sexuality on screen is decoupled from any struggles for liberation, with images that mark its commodification and subsumption. Hansen illuminates Melandri’s critique of idealism, posited as the result of the concealments of the woman’s body and labour power as the ‘most abstract measure ever invented by patriarchal ideology’. In Second Sex War, they are shown congealed together: the woman’s body as dead labour in its sexual capacity.’ Read more>