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Cornelia Sollfrank is an artist who pioneered Net Art and Cyberfeminism in the 1990s.

In 1997 Sollfrank hacked the "world's first" net art competition, Extension, organized by the Hamburg Art Museum in Germany. Her work titled Female Extension involved the creation of 289 computer-generated websites created by combing the Internet and combining fragments of HTML into exquisite corpse-like websites. Each website was submitted under the name of a different artificial female artist. No women were awarded prizes, but press releases distributed by Sollfrank received widespread attention for her intervention, overshadowing the gallery's own awards.

Cornelia Sollfrank founded the organization Old Boys Network. In 1997, it organized the Cyberfeminist International at documenta x in Kassel, Germany. Old Boys Network published First Cyberfeminist International in 1998 followed by next Cyberfeminist International in 1999. Closely associated with Cyberfeminism, Sollfrank has expressed reservations that it limits the perception of her work as "womens issues". [1]

From Hackers of Resistance:

The Hackers of Resistance (HORs) is a queer transfeminist hacker collective of artists, activists, researchers, cyborgs, witches, and technologists, of color. Co-conspirators, we build tools to defend our community, educate people to be secure, to demand and make ourselves heard, to fight back and hack tools of oppression. H0Rh0use is 0ur imm3rsive mUltim3dia heisT.

From Ada Gender New Media & Technology:

Hackers of Resistance (HORs) is a hyperreal-multimedia-installation-performance-video-game reimagining feminist activism. It’s immersive theater, video installation, and game design—but mostly, it’s a universe. A power fantasy of the oppressed, we subvert traditionally-white-American-centered dystopian narratives by placing WoC hackers as superheroes willing to risk it all for solidarity (our vision of utopia). Our stylized hyperreality uses shimmery-neon aesthetics, socially-aware comedy, and DIY charm to address serious concerns like the fate of minorities in the hands of the current administration. Some of the projects the HORs are developing and tinkering with are cybersecurity labs, anti-facial recognition, counter-surveillance, social engineering, bio-hacking, dildo-hacking, and DIWO 3D printable abortion kits in collaboration with our incarcerated sister organization Marias Clandestinas.

From Wikipedia:

VNS Matrix was an artist collective founded in Adelaide, Australia, in 1991, by Josephine Starrs, Julianne Pierce, Francesca da Rimini and Virginia Barratt. Their work included installations, events, and posters distributed through the Internet, magazines, and billboards. Taking their point of departure in a sexualised and socially provocative relationship between women and technology the works subversively questioned discourses of domination and control in the expanding cyber space. They are credited as being amongst the first artists to use the term cyberfeminism to describe their practice.

From VNS Matrix:

The first of their works (a large scale billboard), inspired by such theorists as Donna Haraway and Sadie Plant, featured their seminal text “A Cyberfeminist Manifesto for the 21st Century”. It was in this manifesto that the term “cyberfeminism” first appeared, and this work was widely distributed. In the manifesto, VNS Matrix stated that, “we are the modern cunt/positive anti reason/unbounded unleashed unforgiving” and that, “we are the virus of the new world disorder/rupturing the symbolic from within/saboteurs of big daddy mainframe/the clitoris is a direct line to the matrix/the VNS Matrix”. The group disbanded in 1997, but occasionally work together on selected projects and presentations. Their parting manifesto “Bitch Mutant Manifesto” gave the finger to all technopatriarchies and capitalist infospheres with the words “suck my code” amongst other blasphemous exhortations.