Who’s a Good Girl? (2026)
Solo presentation at the Focus Section of Frieze London 2026 with Xxijra Hii Gallery
List of works
- Good Girl Says No
(2026)
00:09:26
4K Vertical Resolution Game Engine, Good Girl
Sound and music by I. Nakhla
Character rigging by Matti Vilho
Edition of 2 + 2AP
Trailer 👉
- Good Girl Sits (2026)
PETG, DGEBA, iron, 1.8mil polygons, weatherproof coating
88×56×38cm - Good Girl Sprawls
(2026)
PETG, DGEBA, iron, 2.1mil polygons, weatherproof coating
140×50×35 cm - Tool I-V
Bronze, Lost wax
22×11×3.5cm
Selected press:
The Guardian / Sweet nothings, urinal cakes and headless dogs: 10 artworks worth seeing at Frieze
Frieze / Major Sales and New Discoveries at Frieze London and Frieze Masters 2026
The Art Newspaper / In pictures: boundary-pushing works in Frieze London’s Focus section
USA Art News / Frieze London’s Focus Section Spotlights Six Emerging Galleries
Ocula / Guts, Spiders, and Evil-Looking Flowers: The Biggest Trends from Frieze London
These questions hold much of the complexities of feminist technoscience, where politics of gender and power are seen as drivers for technological, global change. When this technology is gendered, what does it mean to be “good”?
At the centre of the presentation is a new single-channel CGI film with sound, following a hybrid Dog figure: service animal / autonomous machine / fertility deity. She is headless, multi-breasted, vulnerable yet powerful, suggesting a body made to nurture, protect, guide and obey, yet also to track, perform, optimise and absorb command.
Serfaty draws a sharp cultural alignment between the service animal and the feminised subject: both are often valued for attentiveness, emotional intelligence, dependability and care, while being trained to place the needs of others before their own. In Who’s a Good Girl, this script begins to break down. The Dog does not simply fail; she mutates. Glitch becomes a condition of self-authorship.
The work emerges from Serfaty’s ongoing research into training protocols, autonomous systems and the non-neutrality of technology. References include deep reinforcement learning, in which simulated agents learn through repeated trial, reward and correction; as well as real-world training architectures that rehearse movement through controlled environments. Rather than treating these systems as purely technical or strategic, Serfaty approaches them as social scripts: ways of shaping bodies, perception, obedience and desire. Her interest lies in the moment where a system becomes unstable enough to produce an unexpected form of behaviour.
In this slippage between code and relic, Serfaty folds technological futurity back into older forms of myth, guidance and belief. The Dog’s lineage also evokes psychopompic figures: animals as guides through hostile or unknowable thresholds. Here, however, the guide is no longer fully in service to the human. Serfaty’s practice often uses speculative fiction and feminist technoscience to make theory felt materially, rather than explained didactically. In Who’s a Good Girl, softness is not opposed to power, nor care to threat. Instead, the presentation inhabits the troubling space where protection becomes instrumentalised, where empathy is trained into labour and where obedience is aestheticised as virtue.
The booth proposes refusal not as escape, but as transformation from within: a misfire, a mutation, a new behaviour emerging at the edge of the system.
Selected Works