Michael A. Robinson The exhibition features Toronto artists Philip Baljeu and Francisco-Fernando Granados sharing digital video and performance pieces on the themes of surveillance and privacy. Double Blind queries the interlinked ideas of seeing and controlling, acknowledging the importance of the context in which information is acquired and processed, whether that context is a scientific doctrine, social matrix, or language system.”Website:http://antoniahirsch.com/ Miniature surveillance camera, video projector. In much of his art practice, Kneubühler investigates the way in which technologies of surveillance and social control blur the boundaries of private and public spaces in the landscapes of everyday life.Website:http://www.thomaskneubuhler.com/ Explore. Sorting Daemons: Art, Surveillance Regimes and Social ControlExhibition | Curated by Jan Allen and Sarak EK Smith, 2010 Variable dimensions. SVBONY SV36 Pocket Monocular ED Glass Mini Monoculars Waterproof Monoscope for Hunting Camping Surveillance Art Exhibition (8x25mm) Visit the SVBONY Store. Ian VerchereArtist W 4.5m x H13.7m x D .5m. The Met has never before presented an exhibition of art … I don’t know, but these projects engage us with the problems of surveillance in ways that news stories and congressional hearings do not. Melanie Lowe, You Saw Me?, 2008. Goethe Institut, Toronto, ON. It is the desire for acknowledgment through communication to one’s friends and functions as a fleeting representation of the self in a moment of time.” In this way, Lowe recontextualizes and publicizes users “status updates” in order to challenge the ideas of privacy and sharing of personal information.Website:http://melanielowe.tumblr.com/ Ruthann Lee, Trying to Concentrate, 2004, DVD. While we strive and struggle, the edifice of a security state is quietly built up around us.” The piece was installed in two underground staircase locations at Place-Ville-Marie and Place de la Cité Internationale as part of Montreal’s 2015“Art Souterrain” Festival, which was themed “Security in our Society: What Remains of our Personal Freedoms?”Website:http://www.edwinjanzen.com In this piece, Janzen creates a parallel between these historical fears of nuclear war and contemporary fears of terrorism. Michael Lewis, Some will take more prodding. © David Spriggs. The semi-truck is represented in a very cool, dark blue while inside the trailer the viewer witnesses an ever-changing dance of forms that becomes hypnotic, like a symphony of colours that expands and contracts.” This work re-visualizes the expectations of surveillant looking, and connects it with other issues concerning border controls, immigration, smuggling, and collective securities vs. individual privacy and civil liberties. © Arnold Koroshegyi. These individual head shots are collected as a set of the last 200 visitors and presented as a matrix of 100 or occasionally all 200 shots, moving in slow motion. Commissioned by the Art Gallery of Hamilton. David Rokeby, Sorting Daemon, 2003, computer, LCD screen, camera, and projection. © Thomas Kneubühler. Artwork | Steve Giasson, 2015-2016.Photographs and video| Exhibited in the "Micro Interventions in public space" section from the DARE-DARE Center of Dissemination of Multidisciplinary Art, Montreal. David Spriggs, Installation view from PRISM (including The Logic of Control, Transparency Report, and The Visible Spectrum), 2015. © Jason Kuhrt. Influenced by the electromagnetic spectrum the people inside the trailer are depicted in a manner reminiscent of a combination of CT scans, MRIs, and thermal images. Eva Clouard, Mont-reel, 2015. Photograph by Paul Litherland. Mixed media. Projected onto a large screen within the gallery, these individual images are brought together as one composite image, with the actions of each person looped at 20-second intervals. Thomas Kneubühler, Private Property, 2006. Vinyl cut-outs, installation on staircases. Image courtesy of the artist. Pressure Monoprint on Rives BFK, 30" x 22." Image courtesy of the artist. Donna Szoke and Ricarda McDonald, And all watched over by machines of loving grace (Installation view from exhibition at Plug ICA), 2012. Warning message Attention! Video Surveillance for Museums. Steve Giasson, Performance invisible No. The exhibit offers much more—photojournalist Tomas van Houtryve displays his beautiful and disturbing pictures taken with a small drone that he flew over American settings to replicate the locations of drone strikes in Pakistan and Afghanistan—weddings, playgrounds, people praying or exercising. Interactive media. Private PropertyArtwork | Thomas Kneubühler, 2006 Digital installation, Geolocation app, smartphone. The title of the piece, Google, acknowledges the ways in which the search engines watch and record user data for ambiguous reasons. Kathleen Ritter, Hidden Camera, 2008. © Marika Dermineur and Stéphane Degoutin. Jason Kuhrt, Sousveillance Project, 2010-ongoing. The representations of menacing aliens are a reminder of what Janzen describes as “the formidable hierarchies of power stacked about them and how the sense of alien menace is deployed in the service of such powers. Oil on canvas. Bringing together multiple technologies, Tremblay’s work often questions perceptions of the movement and flux of everyday life. Double BlindArtwork | Antonia Hirsch, 2008 Revered street artist Al Stark (no relation) accomplishes this ambition in his new eye-catching exhibition No Place To Hide. The other side is a cooler catalog of the gallery visitors. With this work. Neo Conceptual Art .. In the exhibition, “Cake on the Icing,” curated by Shaun Dacey, InterAccess Electronic Media Arts Centre, Toronto.Originally from Halifax, Lowe is a video and digital artist currently based in Toronto. Variable dimensions. Just take comfort in the fact that “it’s only an art exhibition”—for now. © Eva Clouard. This work first premiered at Arsenal Montreal for Spriggs’s solo exhibition PRISM, which also included his works Transparency Report and The Logic of Control.Website:http://www.davidspriggs.com/ Image courtesy of the artist. Image courtesy of the artist. By clicking on a wall, viewers are invited to have a closer, more intimate look at the image. Image courtesy of the artist. The Art Gallery of Hamilton. Commissioned by the Art Gallery of Hamilton. Video installation. Jennifer Marman and Daniel Borins, Google, 2010. Their heads are zoomed in on, and adjectives are attributed to them (i.e. Marika Dermineur and Stéphane Degoutin, Google House, 2003-ongoing. Miniature surveillance camera, video projector. Online. Marika Dermineur and Stéphane Degoutin, Google House, 2003-ongoing. Taking camera obscura as its central device, this project sought to explore,… More video works by Ricarda McDonald are available at https://vimeo.com/ricardamcdonald. New media database projection. W 1047cm x H 511cm x D 11.5cm | Various locationsThe invisible hand is a sculptural installation that wall-mounts domed mirrors to spell out the phrase “the invisible hand” in braille. Image courtesy of the artist. Image courtesy of the artist. Image courtesy of the artist. It also begs the question of who has access to this personal data and how this information might be used? Installation. © David Rokeby. The press release for “Art Souterrain” explains Forman’s piece as provoking the experience of the everyday surveillances in new and unfamiliar ways: “the nature of this spectacle, even when simultaneous, makes interaction seem hyper-real. As the visitor moves around the installation, the cameras activate, causing a flurry of flashes and sounds of camera shutters that overwhelm the small space. ArtistDatabase works: Marman, Jennifer and Daniel Borins. Artwork | David Spriggs, 2014.Engravings on 9 sheets of tempered glass layered and spaced in transparent plexi-glass display units |David Spriggs’ Transparency Report is a series of engravings on transparent glass, layered upright to create a three-dimensional form. In multiple exhibitions. Sousveillance Project Steve Giasson, Performance invisible No. © Jennifer Marman and Daniel Borins. Dave Kemp, Data Collection, 2009. ArtistDatabase works: Marman, Jennifer and Daniel Borins. Painting, American -- 21st century -- Exhibitions. In the group exhibition “Sorting Daemons: Art, Surveillance Regimes and Social Control,” Agnes Etherington Art Centre, Kingston, ON, 2009. Stand Types. Jennifer Marman and Daniel Borins, Google, 2010. Artwork | Thomas Kneubühler, 2006C-prints | Various locationsKneubühler’s piece Private Property involves a series of photographs of the spaces of private corporate property and portraits of the personnel who are tasked with securing them. The works in the exhibition deal with themes ranging from technologies used by government and regulatory agencies to everyday surveillance practices that have become integral parts of our lives, especially in social media. Hidden CameraArtwork | Kathleen Ritter, 2008. In the artist’s own words: “The animation presents a reimagined vision of a semi-truck and trailer under X-ray in a way that is not possible with the existing technology that only provides very low-quality imagery on a single plane. The Art of Detection: Surveillance in Society 1997, MIT List Visual Arts Center. the invisible hand (after Adam Smith), 2009. Based in Toronto, Koroshegyi teaches studio practices and art history at Sheridan College Institute of Technology and Advanced Learning, and the University of Toronto, Mississauga. Jon Rafman, The Nine Eyes of Google Street View, screen captures of Google Street View. In multiple exhibitions, including “Early Delights/Deep Gardening,” curated by Su Ditta, Oakville Galleries, Oakville, ON. Margaret Keller’s message in her Surveillance exhibition at Gallery 210 will fit right in with your Black Mirror binge. // Rokeby, David. Image courtesy of the artist. Exhibition | Curated by Jan Allen and Sarak EK Smith, 2010Mounted as a partnered project between the Art Centre and The New Transparency: Surveillance and Social Sorting at Queen’s University. Installation, mirrored acrylic domes. Photo documentation by Stephen DeSantis. The latest example is an exhibit called Watching You, Watching Me, organized by the Open Society Foundations in New York City and featuring ten artists and photographers. With his work, he aims to develop creative projects that blur and push the boundaries between art, design, performance, architecture, technology, and science. Artwork | Melanie Lowe, 2008.New media database projection | In the exhibition, “Cake on the Icing,” curated by Shaun Dacey, InterAccess Electronic Media Arts Centre, Toronto.In You Saw Me?, Lowe addresses the contemporary nature of personal relations mediated by social media and technology such as Facebook. Will Bringing Science Back to the White House Reinvigorate Forensics Reform. © Steve Giasson. The engravings depict images of the internal space of various bags through an angle of vision that is reminiscent of airport security x-ray scans used to examine baggage for potentially dangerous contents. Donna Szoke and Ricarda McDonald, And all watched over by machines of loving grace, 2012. His work has been exhibited widely, both nationally and internationally, and in prominent festivals including the Liverpool Biennial 2012, and the Text Festival 2011 and 2014 (Manchester). Video installation. The catalogues of artists, artworks, and exhibitions are on-going records of cultural producers and objects broadly engaging with the themes of surveillance technologies and policies in Canada after 2001. The latest wave of surveillance art has been evident for a number of years, especially since 9/11, which increased the powers and budgets of intelligence agencies in the United States and elsewhere. Surveillance art — or as one academic has called it, artveillance — fits into a creative continuum that stretches back to at least the 1930s, when the introduction of “miniature” cameras, such as the Leica, made it relatively easy for photographers to secretly take pictures. 2015 and 2016. Image courtesy of the artist. Image courtesy of the artist. © Kathleen Ritter. Thomas Kneubühler, Private Property, 2006. Interactive media. A new show called Exposed: Voyeurism, Surveillance and the Camera opens at Tate Modern this week. This piece collects images found in the public domain of Google and creates an interactive web design of a house, which viewers can explore by clicking on an image. ArtistDatabase works: Lewis, Michael. Gideon Mendel, from his 2014 series "Drowning World," part of the upcoming exhibition, "The World to Come: Art in the Age of the Anthropocene" at DePaul Art Museum. Kemp is a visual artist who, in his own words, “looks at the intersections and interactions between art, science and technology: particularly at how these fields shape our perception and understanding of the world.” He is currently completing his doctorate research in Art and Visual Culture at the University of Western Ontario.Website:http://davekemp.ca/ 2013. Photograph by Guy L'Heureux. The exhibition will be on view through June 19, 2017. Raleigh, North Carolina Consultant at Workplace Options Fine Art Education North Carolina State University 2009 — 2012 Bachelor of Arts (B.A. Rupture The two have been working together since 2000, creating a variety of sculpture, installation, and multi-media works.Website:http://www.marmco.com/ Camera, LCD screen, computer. CARE NOT CAGES: Processing a Pandemic is an online exhibition that centers fourteen artworks produced by six currently incarcerated artists. 2013. Video installation. Layered engraved glass sheets in half column display case. Image courtesy of the artist. Artwork | Pierre Tremblay, 2012.Video installation | Exhibited at The Photographers' Gallery (London, UK), 14 Sept-10 Oct 2012.Meta Incognita is a time-lapsed video that consists of over 500 images taken from a public weather webcam located in Kimmirut on Baffin Island. © Germaine Koh and Ian Verchere. In this way, Ritter questions the complex power structures inherent to the politics of seeing/seen and visibility/invisibility in public spheres.Website:http://kathleenritter.com/ 2008 and 2009 versions. In multiple exhibitions, including “Wide Open” at the Robert McLaughlin Gallery, Hamilton, ON, 2008, and “Sorting Daemons: Art, Surveillance Regimes and Social Control,” Agnes Etherington Art Centre, Kingston, ON, 2009.Ritter is an artist and curator based in Vancouver and Paris. Antonia HirschArtist Marika Dermineur and Stéphane Degoutin, Google House, 2003-ongoing. Installation view. “takes the Facebook status update of participants from its original context and places it in a representative role of Facebook culture, language and syntax where one’s status serves as affirmation and disclosure. Pressure Monoprint on Rives BFK, 30" x 22." Pierre Tremblay (with artists David Bouchard and Bruno Lessard, audio composer Alex Geddie), Meta Incognita: Summer Variations, 2010. Image courtesy of the artists. Conspiracy Case. The artists in this exhibition take measure of our relationship to surveillance by addressing its social, political and aesthetic dimensions.” This exhibition was developed in partnership with The New Transparency and opened in conjunction with "Camera Surveillance in Canada: A Research Workshop" at Queen's University, Kingston that took place 14-16 January 2010. © Melanie Lowe. With this work, Hirsch questions the relationship of visuality and surveillance, public safety and control by organizing the familiar form of the domed mirror—common security devices—in an unfamiliar way. C-prints. Philosophy Michel Foucault later developed this design as a conceptual model to understand the power dynamics inherent to a control society, one where those in power can the capacity to watch, control, and regulate. Surveillance Art Exhibition A LOOK INSIDE. Video installation. Interactive video installation involving computer, software, large monitors and a sensor. Listed Projects © Antonia Hirsch. 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