Marman and Borins combine humour and surveillance technologies to highlight how personal surveillance and data collection by governments and corporations occur in our physical and virtual everyday lives, and to question whether we should trust them.Website:http://marmco.com/ Image courtesy of the artists. VUB Home. Taken, 2002-2009. “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. © Antonia Hirsch. Photographe: Daniel Roy. if (d.getElementById(id)) return; Online. Image courtesy of the artists. ArtistDatabase works: Koh, Germaine with Ian Verchere. ArtistDatabase works: Tremblay, Pierre (with artists David Bouchard and Bruno Lessard, audio composer Alex Geddie). Inside the gallery space, the resulting composite images are displayed on a circle of 8 video projections. Image courtesy of the artists. De … Michael Lewis, Some Will Take More Prodding, Others Will Be More Difficult, 2008. Photographe: Daniel Roy. Photo documentation by Stephen DeSantis. Image courtesy of the artist. Interactive online installation. © Dave Kemp. Layered engraved glass sheets in half column display case. The installation features a television monitor that shows a map of the streets of Montreal with the artist’s whereabouts tracked in real time. Surveillance Art exhibition: 'A Look Inside' Tweet 0 Archive TUE 22.01.13 > SUN 03.02.13 De Markten | Oude Graanmarkt 5, Brussels Vernissage: Tuesday 22 januari 19:00 Exhibition: TU > SUN: 12:00 > 18:00 People are shocked by the absurd number of surveillance cameras … The Museum provides FREE classroom lessons, resources, and activities that support traditional curriculum. Various locations. Eva Clouard ArtistDatabase work: Forman, Eric. Photograph by Photo Technic. 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. Taken Thomas Kneubühler, Private Property, 2006. In multiple exhibitions and locations, including Art Gallery of Hamilton, Hamilton, ON (2002); “Interaction '05,” Toronto International Art Fair, Toronto, ON (2005); “Profiling,” Whitney Museum of American Art, New York, NY (2007); “Synthetic Time,” National Art Museum of China, Beijing, China. Timed performance. Saint-Laurent) (2006-2007), commissioned by Daniel Langlois Foundation. Guests are allowed to come in and view the artwork at their leisure. Image courtesy of the artist. © David Spriggs. Thomas Kneubühler, Private Property, 2006. As well, the feminine lingerie garments allude to the often invasive nature of surveillance tactics and the intimate look the government has into people’s private lives. ArtistGiasson, Steve. Jennifer Marman and Daniel Borins, Google, 2010. Image courtesy of the artist. © Dave Kemp. In this way, Broken Arrow makes visible these often invisible technologies and their signals. Jennifer Marman and Daniel Borins, Google, 2010. Interactive online installation. Sousveillance ProjectArtwork | Jason Kuhrt, 2010-ongoing. © Steve Giasson. You are here. On Spriggs’ website, he describes how the series addresses issues of surveillance: “Transparency is undoubtedly a tool for control; it is rarely consensual and is most often imposed.” Using transparency as both a conceptual gesture and creative technique, the four representations that compose Spriggs’ Transparency Report forces gallery visitors to question boarder issues of visibility, access, and control, and how transparency is central to the overwhelming dominance of institutional power in and over our lives.Website:http://www.davidspriggs.com Image courtesy of the artist. Private PropertyArtwork | Thomas Kneubühler, 2006 This series of work was included in McQuillen’s solo exhibition “Backscatter (an exploration of surveillance in the wake of 9-11)” at the O’Born Contemporary Gallery in Toronto, Ontario (2013).Website:http://www.katemcquillen.com Thomas Kneubühler 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/ 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/ 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 © Michael A. Robinson. Don’t miss out on seeing this incredible collection of art from one of America’s foremost art dealers, Richard Gray, along with his wife, the art historian Mary L. … Performeur: Daniel Roy. The image stream, provides a kind of seething chaos of activity that can be read both as a statistical plot of gallery activities (where do most people stand to regard the piece? Pressure Monoprint on Rives BFK, 30" x 22." David Rokeby, Sorting Daemon, 2003. Performance/installation (photographs, looped videos, drawings, office furnishings, TV sets). Image courtesy of the artist. Eva ClouardArtist © Antonia Hirsch. Jan 21, 2018 - A look inside, surveillance art exhibition, Bruxelles 2013. © Jennifer Marman and Daniel Borins. © Kate McQuillen. In exhibitions there are three types of stand: Pop ups (the small self-assembly displays), shell scheme (where a contractor builds a grid within which there may be pop-up stands and exhibits), and space only (where the exhibitor hires a space and builds a stand, sometimes of more than one storey). The title of the piece, Google, acknowledges the ways in which the search engines watch and record user data for ambiguous reasons. 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. W 4.5m x H13.7m x D .5m. Price: $78.99 & FREE Shipping. Image courtesy of the artists. Marika Dermineur and Stéphane Degoutin, Google House, 2003-ongoing. Electronic surveillance in art -- Exhibitions. Steve Giasson, Performance invisible No. In particular, she specializes in artistic creation for and on the Internet. In Hirsch’s own words, “Double Blind deliberately and emphatically utilizes elements that are commonly found in public space and re-purposes them, thereby highlighting the quality of the space itself, rather than offering a pictorial escape from its reality. 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. Rather than tell us about program X or problem Y in the word-based vernacular we’re numbed by, they offer new ways of seeing and understanding surveillance. Sorting Daemons: Art, Surveillance Regimes and Social ControlExhibition | Curated by Jan Allen and Sarak EK Smith, 2010 David Spriggs, Installation view from PRISM (including The Logic of Control, Transparency Report, and The Visible Spectrum), 2015. The kind of reporting we do is essential to democracy, but it is not easy, cheap, or profitable. Jason Kuhrt’s Sousveillance Project is an interactive installation that allows strangers from all over the world to upload comments, messages, and quick texts from their mobile devices onto a database. For this exhibition, Karen McEndoo, Katharine Nicholls and Katie Bunnell respond to the uneasy subject of surveillance. Walid Ra’ad, Part 3: Miraculous Beginnings, The Dead Weight of a Quarrel Hangs, 1999, DVD. Image courtesy of the artist. © Jennifer Marman and Daniel Borins. The exhibition explores a number of the workshop’s central themes, such as the intersections between surveillance and social networking, identity and anonymity, and monitoring techniques. Getting Called a “Faggot” Wasn’t Even the Worst Response. Image courtesy of the artist. Private Property Kimmirut, Baffin Island, Canada. Some Will Take More Prodding, Others Will Be More DifficultArtwork | Michael Lewis, 2008. Pierre TremblayArtist New media database projection. Born in Germany, Michael A. Robinson currently lives in Montreal, where he is an artist and educator in visual and media arts at l’Université du Québec à Montréal. 2015. Image courtesy of the artist. Earning her MFA from York University in Toronto, she works primarily in print media, drawing, and installation-based projects. Photo documentation by Stephen DeSantis. Meta Incognita uses the weather webcam to question automated surveillance technologies in relation to time, landscape, and the documentary genre. A Reckoning Over Homophobia in the Democratic Party. | Kunst in Berlin Born in Toronto, Degoutin is an artist, writer, and researcher currently based in Paris where he teaches at École des Arts Décoratif (ENSAD). Walker Evans led the way with undercover pictures taken on the New York City subway with a Leica hidden behind his coat. © Jason Kuhrt. More video works by Ricarda McDonald are available at https://vimeo.com/ricardamcdonald. © Donna Szoke and Ricarda McDonald. Michael Lewis Both exhibitions run through Dec. 31, and admission is free. Private Property, 2006. © Donna Szoke and Ricarda McDonald. Variable dimensions | Exhibited at Palais des congrès as part of the Montreal's “Art Souterrain” Festival (2015), and at the 2-22 Building in Montreal (2016).In VOX, artist Steve Giasson displays 200 pages of transcribed text he recorded from overheard conversations occurring outside his apartment over the course of a year, from 25 July 25 2009 to 24 July 24 2010. Listed Projects © Kate McQuillen. Neo Conceptual Art .. In Rokeby’s own words, this piece “was triggered by my concerns about the increasing use of automated systems for profiling people as part of the "war on terrorism" and is an attempt to help ask questions about appropriate uses of technology.” To do this, Rokeby used a surveillance camera to track and record movement in an effort to look for people. Exhibition poster, 2011. © Donna Szoke and Ricarda McDonald. When movement—a person—has been found, the image is captured and removed from its background context. Invisible Performance No. Variable dimensions. Cyber-Surveillance in Everyday Life: An Art Exhibition Data Collection, 2009. Daniel Borins The Visible Spectrum. js = d.createElement(s); js.id = id; Image courtesy of the artist. She has exhibited her creative projects in a variety of national and international venues, including Utah Museum of Contemporary Art (Salt Lake City), the Terrain Biennial (Various locales), O’Born Contemporary (Toronto), and The Comfort Station (Chicago).Website:http://www.katemcquillen.com/ Antonia Hirsch, Double Blind, 2008. How many covert wars, miscarriages of justice, and dystopian technologies would remain hidden if our reporters weren’t on the beat? Layered engraved glass sheets in half column display case. Her work has shown in Canada, US, France, Germany, Hungary, Croatia and Turkey. Image courtesy of the artists. Image courtesy of the artist. In his own words, “Rupture, through the interplay of the moving and static image, unsettles the focus: no longer can the eye contemplate the depth of the painterly photographs or try to discern the shapes beneath the pixilated blurs. There is also the turn-the-tables work of Simon Menner, a German who combed through the Stasi archives for pictures the East German spy agency took of its own agents (mainly in training situations, but also at parties). Hidden Camera, 2008. Jason Kuhrt, Sousveillance Project, 2010-ongoing. Kathleen Ritter, Hidden Camera, 2008. Timed performance. The public is welcome to attend our opening receptions- … Installation (detail), mirrored acrylic domes. After 9/11, the NYPD established a secret “Demographics Unit” that mapped Muslim neighborhoods, dispatching plainclothes officers to collect photographs and information about Muslim businesses and gathering places. This just happened — while trying to figure out a colorful way to begin the story you’re reading, I toggled to Twitter and saw a link to a short film by two Brooklyn directors who used a drone to film actors having sex. © Germaine Koh and Ian Verchere. Tran T. Kim-Trang, Ocularis: Eye Surrogates, 1997, DVD. In her work, Lowe often questions the everyday actions and interactions between the self and others in contemporary life.Website:http://melanielowe.tumblr.com/ Image courtesy of the artist. Artwork | Kathleen Ritter, 2005.4-channel video installation with sound, 100 performance scripts, photographs, map, map pins, cork board | In her work Interloper, Ritter explores the relationship between collective behaviour, social surveillance, and public spaces. Pigment inkjet print. Camcorders, cameras, tripods. Image courtesy of the artist. Kathleen Ritter Marika Dermineur © Edwin Janzen. 3 au 10 mars 2016. Installation view. © Arnold Koroshegyi. // Spriggs, David. Donna SzokeArtist Eva Clouard, Mont-reel, 2015. Ian Verchere is a Vancouver-based writer and creative director who has produced best-selling video games for Electronic Arts, MTV, and his own company Roadhouse Interactive.Website:see the work at http://germainekoh.com/ The Logic of Control. In "Shutters," an exhibition opening in UB Art Gallery today and running through Nov. 23, artists like Niels Bonde from Copenhagen address the concept of contemporary surveillance in their art often by simultaneously placing the viewer in the role of watching while being watched. Commissioned by the Art Gallery of Hamilton. Pressure Monoprint on Rives BFK, 30" x 22." (function(d, s, id) { Michael LewisArtist Broken ArrowArtwork | Germaine Koh with Ian Verchere, 2008 and 2009 versions It also begs the question of who has access to this personal data and how this information might be used? Double Blind © Thomas Kneubühler. // Rokeby, David. Eric Forman, Auto-surveillance Encounter, 2004 and 2015. In the group exhibition “Sorting Daemons: Art, Surveillance Regimes and Social Control,” Agnes Etherington Art Centre, Kingston, ON. Her practice seeks to question the ways in which computer networks and programmes can create narratives using sound, language, and image. Interactive online installation. He also posted them to a website he created. Computer, LCD screen, camera and projection | Goethe Institut, Toronto, ON. Camcorders, cameras, tripods. Cheryl Sourkes, Cam Cities, Virtual Toronto, 2001, inkjet on unstretched exterior vinyl banner, steel bar. More information about Stéphane Degoutin is available at http://www.nogoland.com/.Website:http://googlehouse.net/ Performeur: Daniel Roy. Donna Szoke and Ricarda McDonald, And all watched over by machines of loving grace, 2012. Rupture Others will be more difficult, 2008, oil on canvas. Two large monitors, each displaying a disembodied eye, stare out at the audience. In multiple exhibitions and locations, including Art Gallery of Hamilton, Hamilton, ON (2002); “Interaction '05,” Toronto International Art Fair, Toronto, ON (2005); “Profiling,” Whitney Museum of American Art, New York, NY (2007); “Synthetic Time,” National Art Museum of China, Beijing, China.Based in Toronto, Rokeby is an installation artist who has been creating artworks since the 1980s. Miniature surveillance camera, video projector. 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. Artwork | Kathleen Ritter, 2008.Pigment inket print | In multiple exhibitions, including “Wide Open,” Robert McLaughlin Gallery, Hamilton, ON, 2008, and “Sorting Daemons: Art, Surveillance Regimes and Social Control,” Agnes Etherington Art Centre, Kingston, ON, 2009.This project offers a photograph of a hidden camera device and microphone used by Ritter to record a number of her performance pieces that documented different public sites, including grocery stores and airports. Based on Adam Smith’s writing in The Wealth of Nations (1776), this work questions the perception that the conditions of a free-market economy (ie. Germaine Koh Interactive online installation. ArtistDatabase works: Koh, Germaine with Ian Verchere. Edwin Janzen 29: To spy on someone or something from one’s window. © Marika Dermineur and Stéphane Degoutin. The project shows what’s possible in this case by working in two parts: interested volunteers were able to download an Android app from Google Play (now inactive) and activate the spying timeframe. Image courtesy of the artist. Exposed. W 4.5m x H13.7m x D .5m. © Thomas Kneubühler. Miniature surveillance camera, video projector. © Donna Szoke and Ricarda McDonald. Donna Szoke and Ricarda McDonald, And all watched over by machines of loving grace (Installation view from exhibition at Plug ICA), 2012. Jennifer Marman and Daniel Borins, Google, 2010. You Saw Me? C-prints. The piece highlights an ambiguity to this form of looking: as a viewer we first ask whether the captured images are performed, staged, or not, which then provokes a second questions as to what these differences would provide to the interpretation to the piece. Interactive online installation. With collaborator Gwenola Wagon, he has created a number of online works, including Terrorism Museum in an Airport (2009-2013, http://www.nogovoyages.com/terrorism_museum.html), and Dance Party in Iraq (2012-2013, http://www.nogovoyages.com/dpi.html). Hamilton, ON for the São Paulo Bienal. Image courtesy of the artist. Image courtesy of the artist. Artwork | Steve Giasson, 2015 and 2016.Mixed media. Warning message Attention! 2015 and 2016. 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. Artwork | David Rokeby, 2004.Video installation | Commissioned by the Art Gallery of Hamilton, Hamilton, ON for the São Paulo Bienal.Commissioned by the Art Gallery of Hamilton, Gathering captures images of people outside the gallery space. Online. X-Rays Series Artwork | Donna Szoke and Ricarda McDonald, 2012.Interactive video installation involving computer, software, large monitors and a sensor | Various locationsAnd all watched over by machines of loving grace plays with the expectations of bodies, looking, and technology. Vancouver. From the exhibition’s publicity release: “Information-gathering systems increasingly affect our lives, tracking our movement and consumer preferences. Variable dimensions.Eric Forman is a Brooklyn-based artist working with interactive installations and responsive sculptures. W 4.5m x H13.7m x D .5m. In multiple exhibitions. By clicking on a wall, viewers are invited to have a closer, more intimate look at the image. Vinyl cut-outs, installation on staircases. Hidden cameras inside the sculpture watch, track, and record people as they pass by, adding a potentially sinister element to the humour offered by the googly-eye form. This interactive online piece by Dermineur and Degoutin questions the notion of differentiated private and public spheres, and the ways that Google and other social media sites can collect and retrieve private images for their databases. According to Rokeby, “The result is that every action that has taken place in the gallery since the computer was turned on occurs together on the screen, repeating every 20 seconds. and all are watched over by machines of loving grace Performance/installation (photographs, looped videos, drawings, office furnishings, TV sets). , Boxcutter III from the exhibition, “ Cake on the invasive nature of photography and visual media,... 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