The portrait of the Futurists' female member describes and deals with Elisabeth Schimana's search for female representatives or, rather, for any (historical) existance of feminist positionis within the genres of electronic music and media art. A search for female role models.
Based on the assumption that the noise-sound and machine music preferred by the Futurists mark the beginning of (experimental) electronic music, Schimana set of searching here. The Futurists' attitude towards women, however, didn't make her too confident; still, she finally did find a clue worth tracing down: Valentine de Saint-Point, a member of the Parisian avant-garde, got connected with the Futurists during their visit in the French capital in 1912. Shortly afterwards she wrote the "Manifesto of the futurist woman".
Schimana transfers this kind of investigative research - following emerging strings of infomation, weaving and conceiving them - in her performance by interweaving the voices and faces of Andrea Sodomka, Netochka Nezvanova, and Tatjana Komarova as well as her own for a new portrait.
However, the sculpture emerging through this creative action is not at all a one of stone or steel a permanent manifestation. On the contrary, the projection beam which creates the sculpture in radio space, is temporary and ephemeral.