for the fractured
mooniyang
Joined August 2014
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tjo retweeted
Dear David
sex, surveillance & ownership: a thread about art.
Ownership: we’ve become so subservient to surveillance that we forget: my image, my face, is not public property. it does not belong to the state. it is Mine. And if I want it, I will get it. It is my right, and so it is yours too.
of course, true ownership is an illusion, but attention can easily be stolen. all it takes is a red dress and a veil.
Surveillance & Sex: CCTV registers bodies as objects. Its stated goal is protection, but it is always operating in the past: never in the moment. On the London Underground, the most common violence against women is verbal sexual harassment. CCTV does nothing to stop it. It only looks, never listens.
And yet, for all it knows (my face, my home address, my real name) the surveillance machine does not know my voice. The machine cannot hear. It does not want to listen.
Object Tracking: In this footage, I am tracked like an object. The machine treats me like its property. It protects only passively. The visual effects of object blurring and tracking have been applied by the Transport for London - not me. A literal layer of objectification. which ties nicely into the idea that women regularly subject themselves to self-surveillance of their own bodies.
women (although i do think this spreading to boys and men bc of socials) are constantly aware of the image of themselves - of how they will look on camera. it is a third party perspective of the body rather than a first person experience of the body in time and space. the cctv, the camera, has been internalized.
of course to make an artwork so blatantly about surveillance and objectification would be missing all the fun OONA subversion, so instead Dear David is a love letter. A reaching behind the machine to the man who i've been corresponding with since I started performing on the underground back in 2018.
If you like this artwork, you'll also like:
Manu Luksch – Manifesto for CCTV Filmmakers
Sophie Calle – The Hotel
Angela King - Self-surveillance of womanhood
Janet Cardiff – The Missing Voice (Case Study B)
thank you for your attention.
cc: @_second_guess @postanika
@margaretonline @leahschrager @aljaparis @objktcom
tjo retweeted
💌 Thank you for all the sweet messages, but it's not me who's getting married tomorrow. It's OONA. @micolmicolmicol and I are the maids of honor.
❓ I know you have a lot of questions.
✍️ First: Will there be an NDA?
Yes, you'll have to sign one.
🎂 Second: Can I still come?
We're fully booked. VIPs have been notified, and your drinks are on us. (Thank you for the generous support, @redbeardnft!)
❣️ Does the soon-to-be husband know about the wedding?
Yes, he does.
🍿 Will he be there?
We'll see.
💅🏻 What will you wear?
A Stella McCartney dress. We're in London, right? Still discussing with myself whether I'll wear my Gucci Jordaan loafers or something more practical for work reasons.
💭 And yes, finally a wedding as an art event, which means you can officially only speak about what people are wearing.
💍 Is there a dress code?
Dress like David's watching. You might want to impress David.
🫶 … may we all find someone who pays us as much attention as David pays OONA.
tjo retweeted
Dear David,
@madebyoona will make you very happy and definitely keep on your toes
This is how we commit to the art
tjo retweeted
we’re lucky to have Ben around <3
check out how it’s working
and put your bags to the test
if you’re game ;)
tjo retweeted
For The Grove, @0xTjo used the ages of Palestinians killed in Gaza to generate digital olive groves. Each variation of the artwork is shaped by this information, creating a landscape of trees influenced by the lives of those who died.
Olive trees have grown across Palestine for centuries, tended by families across generations. For TJO, the trees in The Grove represent those that should have had the chance to grow alongside the people whose lives were cut short.
An Indigenous artist from the Mashteuiatsh community in Canada, TJO often explores relationships between people, memory and land. The Grove was presented in the Still Here exhibition in Lisbon in June 2026.
Would my work be shaping to become what it is now without taking the huge side quest of an MFA, maybe, but it definitely is making me a better artist, I just hope it was more accessible
tjo retweeted
Palestinians are still here.
In June 2026, Still Here brought together digital artworks by 23 artists from around the world at Palacete Gomes Freire in Lisbon, Portugal. Part of the @FlyingBeagle_ Abu Alya collection, the exhibition explored Palestinian history, displacement, identity, resistance and survival.
We're returning to Still Here to share individual works from the exhibition and the stories behind them. This introductory film brings together the artists who contributed their work.
tjo retweeted
Still minting ASABL digital art cards! Grab one or several to fulfill your art card set and watch the satirical animated film ASABL !!
