Can a .mov be he or she? By coding an algorithm that dissects videos according to the ratio of 0 and 1, mov.sex treats binary code as a form of digital chromosomes. This process attempts to “sex” moving images the way biology categorizes bodies, producing glitch visuals that reveal the erotic tension and instability within binary systems. Human-ware is a dress-up game (with video demo). In Human-ware, binary code becomes a libidinal engine — a system where 0 and 1 act as digital chromosomes, endlessly recombining into new forms of bodies. Through a browser-based dress-up game, players can assemble hybrids: genitals as faces, mathematical equations as legs, abstract symbols as sex organs. Each choice alters the code ratio, unlocking new body parts, revealing the erotic potential of digital construction.

By equating code with DNA, Human-ware situates desire in the logic of computation — a libidoscape where sexuality, identity, and form are generated through the syntax of machines. In this world, libido is not confined to flesh but flows between images, files, icons, and non-describable affects. The work asks: when our bodies become mutable data, what kinds of erotic architectures can emerge?

Angel Qin’s practice unfolds within Libidoscape – a post-human, sensorial ecology where environments and everyday objects are eroticized, embodied, and enlivened. This framework reimagines intimacy and subjectivity by positioning the human within a network of desires shared with the non-human. Working across moving image, performance, and object-based installation, Qin creates perceptual fields where identity, ecology, and technology intersect. In both artistic and curatorial contexts, Qin seeks to craft experiences that are intellectually rigorous and sensorially immersive, adaptable to institutional, public, and commercial settings. Her work has been presented internationally, including at Tate Modern and the London Art Fair, and has been featured in Frieze, Vogue Italia, and Aesthetica Magazine.

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