If It’s Good, founded in 2020, is a research platform that uses feminist, collaborative and inclusive methods. As an organisation, we engage in two main activities: we curate artistic events and design digital tools.



New technologies transform our emotional life. This hybridization between the human and the machine echoes Harraway’s 1990 emancipatory figure of the cyborg. However, this concept is undermined by the politics of data surveillance, which creates a feeling of deep alienation and is linked to the idea of mass manipulation. Taking the augmented emotions as our starting point, we aim to examine the figure of the post-cyborg in the context of a world governed by data. Our research is rooted in the work of artists who highlights the paradoxes from the ambivalent figure of the cyborg.


This research focuses on alternative and collective curatorial practices derived from feminist thinking. Our hybrid formats are situated at the intersection of the public and the private spheres. We aim to use these to create new practices and transmit emancipatory knowledge through collective explorations. The association If It’s Good was born of a monthly salon that has been held privately since 2017 by Theodora Domenech. This salon was conceived of as an informal laboratory of exchange and discovery of female-identified, trans and non-binary artists and writers.


Since it creates alternative networks of visibility, the Internet could have been the perfect tool to deconstruct the masculine and occidental aesthetic paradigm that dominates contemporary art institutions. The Internet could equally have been used to introduce diversity into the world of art. Paradoxically, mass data processing has led to the mechanisation of selection processes, which has become an impediment to critical appreciation of an artwork. As a result of their biases, algorithms seem to replicate traditional discrimination in the art world by placing emphasis upon the masculine and occidental canon. How can we reach inclusivity in digital technologies?


Kate Cooper 'Infection Drivers'

Augmented Emotions is a public programme scheduled on the 27th of March 2021 at the Fondation Pernod Ricard.

©Kate Cooper


DATABASE (work in progress) :

We are creating a database of international women* artists. This tool is conceived of as a curatorial assistant: its purpose is to help art professionals (curators, critics, teachers) to find references to artists, whose profile corresponds to the subject of the curators’ research. The artists who feature in our database are selected based on their participation in the most important international exhibitions and biennales in favor of inclusivity and prospection.

This research is supported by the Ministère de la culture (DGCA).

©Hannah Agid



Théodora Domenech

Théodora Domenech is a Doctor of Philosophy with a specialisation in the phenomenology of feelings. For the past three years, she has organised a monthly salon for women artists and writers. Situated at the intersection of philosophy and cultural studies, her research focuses on the criteria of judgement and discrimination in the contemporary art world, as well as the effects of new technologies on emotions.


Angela Blanc

Angela Blanc is an independent curator and art historian. Her recent research focused on the influence of feminist theories on artistic and curatorial practices. In 2020, in partnership with Nottingham Contemporary, she co-curated Sets and Scenarios, an online programme featuring film, text and performance, that questions our heightened proximity to moving images.


Angela Blanc

Géraldine Miquelot is a researcher and independent curator. After a thesis on cultural mediation practices in contemporary art institutions, she began to conduct her research on labour and the conditions of collaboration. With a concentration on processes of transmission and popularization, she seeks to highlight patriarchal and colonial domination at work in the art world.

YASMINA HATEM, independent curator