More than ever, we must embrace the global sociopolitical changes steadily unfolding around the world. As we transition gradually from the twenty-first to the twenty-second century, we are witnessing a remarkable phenomenon: on one hand, women’s rights and conditions remain severely repressed all over the world, including in the USA. And the irony of Schneemann’s quote reflects recent political elections in the United States, which have revealed the persistent dominance of a patriarchal system upheld by older generations, regardless of party affiliation. Thus, we must not forget the not-so-distant past when wise women were branded as witches and burned for their knowledge and perceived “powers.” Nor should we overlook the suffragettes’ struggles or the fact that it was only in the twentieth century that women were finally granted the right to vote. And today we must anticipate the future. It is a time to aim towards a new world, a new progressive thinking, and so why not let it be a “Matriarchy of the Future”?² Would this entail a utopia? Well, only time will tell. But the process will be inextricably linked to women’s contributions in art, science, and new technologies, with AI playing a pivotal role in facilitating such a transformation.

The Goddess Movement of the sixties holds great significance in paving the way for progress toward a potential Matriarchy of the Future. And so why not expand on a new vision for the Goddess Movement and explore its second phase? The rich heritage of this movement remains as relevant and influential today as ever, a perspective valued and recently highlighted by Judy Chicago and Nadya Tolokonnikova in their poignant interactive work What If Women Ruled the World? Participatory Quilt, showcased at the Serpentine Gallery. This powerful piece was part of Chicago’s brilliantly curated exhibition Revelations, which offered a thought-provoking exploration of gender, power structures, and the reimagining of society. The concept of the “Matriarchy of the Future,” particularly within the arts, science, and technology, entails a discussion about how power structures and innovation mechanisms could shift. For instance, the use of the linguistics and cognitive sciences could play a major role in renegotiating our belief systems.

Connecting the seemingly-unrelated realms of artistic and scientific research has always been my primary goal—the exploration of invisible layers of new knowledge in order to uncover connections that may initially appear confusing, but which, upon closer examination, ultimately reveal profound relationships. And so I propose connecting several female artists under the umbrella of this common narrative and translating and elucidating their serendipitous ties to the Goddess Movement in order to harvest inspirational ideas for the Matriarchy of the Future.

Consider the controversial example of Paulina Peavy, one of the most intriguing female artists of the twentieth century. Playing a vital role in the emerging West Coast scene, Peavy claimed to channel “Lacamo,” a future alien entity existing beyond the ideas of gender, which informed her in terms of spirituality, mysticism, and most importantly “revealed to her a future in which a female-based single sex reproduction would make men redundant … [through] mankind’s evolution to an androgynous one-sex through contact with aliens.” And with this revelation she began to construct an intricate new belief system that explained the history of the past, present, and what would come.

Further inspiring ideas emerge from artists Ira Lombardía and Suzanne Treister. Both Lombardia and Treister explore the re-evaluation of feminine power within society, albeit through different lenses. While Lombardia researches modern media and the portrayal of women, especially in her new body of work Lecciones de geometría, Treister frequently crosses systems of knowledge, including the scientific and the esoteric. Her ALCHEMY and HEXEN 2.0 series merge mysticism with systematic inquiry, drawing on the idea that the occult serves as an alternative form of understanding reality. She invites us to consider the hidden forces at play in both ancient and contemporary contexts. But both contribute to a reimagining of women’s roles, whether through deconstructing imagery or invoking forgotten or occulted aspects of feminine strength and wisdom. And these connections underline a shared goal: to challenge traditional narratives and create space for rethinking our place within cultural, historical, and technological discourses.

The implications of this new ideology extend to the issues of meaning, purpose, and the very survival of life itself. Will our future resemble Marge Piercy’s speculative novel Woman on the Edge of Time³, which explores themes of social justice, gender equality, and environmental sustainability, and contrasts a dystopian present with a utopian future society, questioning societal norms and power structures? Perhaps it will. And so maybe we can illuminate such a future wherein matriarchal values will remain recognized regardless of generational gaps.

By attending to the ideas of the brilliant Gen-X artist Carla Gannis and her younger, millenial colleague Iyo Bisseck, we can anticipate these future realms. Bisseck’s work often incorporates layered imagery and symbolic elements rooted in African traditions and stories, which align well with the themes of the Goddess Movement that emphasize reconnecting with ancient symbols of female divinity. By weaving such cultural and symbolic depth into the portrayal of women, Bisseck’s art can reinforce ideas of a society where matriarchal values are influential and celebrated. Their work Wilderness Gardens is an immersive gaming experience that explores spatial reflection, access, and the impact of technology on the control of resources. It critically questions the colonial continuum and norms of civilization. Such work also represents intersections between art and science, using data, technology, and coding to craft pieces that reflect deeper inquiries into identity, heritage, and collective narratives. After experiences in scientific laboratories, where they explored the limits of artificial intelligence through the creation of virtual agents, Iyo Bisseck decided to anchor themself in spaces of collective organization such as Dreaming Beyond AI and Matri-Archi(tecture).

And as AI becomes an increasingly integral part of artistic practice, Gannis advocates for a future where feminist approaches influence how this technology is used. This perspective emphasizes the importance of inclusive datasets and ethical considerations to avoid reinforcing biases and exclusion. She calls attention to the need for AI systems that challenge patriarchal norms and empower a broad spectrum of voices, rather than replicating systemic inequities. Her approach to the future of art intersects significantly with feminist perspectives, reflecting an ongoing exploration of identity, representation, and inclusivity within digital spaces. And the tech industry, though traditionally male-dominated, is now seeing an influx of women who bring different perspectives to innovation, ethics, and social impact. By increasing female founders, coders, and decision-makers, technology could evolve to prioritize societal well-being and faster progress towards higher consciousness.

The increasing production of female-presenting humanoid robots reflects this real-world change, as many of these machines are designed to exhibit emotional intelligence and mutual support. Claire Jervert’s work critically engages with precisely this dynamic. She has traveled internationally to conduct research, interacting with numerous humanoids. Most notably, her recent work with the Bina48 robot—modeled after the wife of entrepreneur Martine Rothblatt—dives into complex questions of consciousness, gender, and identity. Through these explorations, Jervert challenges the male-dominated narrative, suggesting that the portrayal of women, both human and robotic, can evolve beyond traditional confines. Her vision hints at the Matriarchy of the Future, where female identities are shaped and defined by women themselves, free from the constraints of a male gaze. This brings us back to Carolee Schneemann’s quote, “Are we dreaming ourselves or dreaming the dream of men dreaming us?” and the hope that soon enough the Matriarchy of the Future will be more than just a dream.