© Arnold Koroshegyi. Image courtesy of the artists. © Michael Lewis. Photograph used on poster by Brenda Liu. It’s an aggressive act — appropriating someone’s genetic property to show the ease with which our identities can be constructed and exposed. Artwork | Steve Giasson, 2015 and 2016.Mixed media. A meeting of the Cambridge Democratic City Committee is a microcosm of the Massachusetts Democratic Party. Rupture Pressure Monoprint on Rives BFK, 30" x 22." 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 the invisible hand (after Adam Smith)Artwork | Antonia Hirsch, 2009 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. Broken Arrow © Germaine Koh and Ian Verchere. Much of her creative practice is dedicated to reappropriating and subverting objects of common use, to new and surprising ends. Video Surveillance for Museums. Image courtesy of the artist. To do this, Koroshegyi uses a flatbed scanner to closely trace photographs of artificial flowers. Interactive video installation involving computer, software, large monitors and a sensor. In multiple exhibitions. Rupture, 2009. 6-minute looped DVD video. So too, Giasson’s VOX questions what aspects of a surveilled moment gets lost within its capture; the flat form of the spoken-to-written word offers no context, tones, colour, or character that comes with lived experience. Exposed. Website:You can find more information about Donna Szoke on her website, http://donnaszoke.com/. Esther Lurie (Hebrew: אסתר לוריא ; 1913 – 14 February 1998) was an Israeli painter.. After studying at theatre set design and drawing in Belgium, and immigrating to Palestine in 1934, Lurie obtained work by painting and exhibiting her 2014. Pressure Monoprint on Rives BFK, 30" x 22." 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. Artwork | Eva Clouard, 2015.Digital installation, Geolocation app, smartphone. Cover of exhibition catalogue, 2010. W 4.5m x H13.7m x D .5m. VOXArtwork | Steve Giasson, 2015 and 2016. 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. Contemporary Art. Michael A. Robinson, Subject to Scrutiny, 2013. 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 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. Kathleen Ritter, Hidden Camera, 2008. Both exhibitions run through Dec. 31, and admission is free. They are playful, invasive and eerie, and best of all they are graphically visual. Image courtesy of the artist. Watched! 4-channel video installation with sound, 100 performance scripts, photographs, map, map pins, cork board. The exhibition features Toronto artists Philip Baljeu and Francisco-Fernando Granados sharing digital video and performance pieces on the themes of surveillance and privacy. Tom Sherman, SUB/EXTROS (1), SUB/EXTROS (2), SUB/EXTROS (3), 2001, DVD. Image courtesy of the artist. Various locations. It also begs the question of who has access to this personal data and how this information might be used? Getting Called a “Faggot” Wasn’t Even the Worst Response. The Art Gallery of Hamilton. X-rays Series. © David Spriggs. © Steve Giasson. Artists + Artworks + Exhibits 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. Hamilton, ON for the São Paulo Bienal. Jennifer MarmanArtist New media database projection. The video animation utilizes layering methods present in Sprigg’s other works, and scans the length of the truck to pay attention to each of the different figures. Tang Contemporary Art is proud to announce the opening of Yang Zhenzhong's solo exhibition “Surveillance and Panorama” on September 1, 2018, in the first space of Beijing. That’s all it takes to support the journalism you rely on. Electronic surveillance in art -- Exhibitions. ArtistDatabase works: Clouard, Eva. Arnold Koroshegyi, Rupture, 2009. 24 septembre 2015. ArtistDatabase works: Koh, Germaine with Ian Verchere. Eva Clouard, Mont-reel, 2015. Image courtesy of artist. 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 © Steve Giasson. Pierre Tremblay (with artists David Bouchard and Bruno Lessard, audio composer Alex Geddie), Meta Incognita: Summer Variations, 2010. David SpriggsArtist Some of the Snowden era’s sharpest interrogations of collect-it-all tracking by corporations and the government are to be found in galleries and other art spaces. Video installation. Image courtesy of the artist. Broken Arrow. Various locations within Montréal, PQ; Edmonton, AB; and Québec City, PQ. Installation. David Spriggs, Transparency Report (Installation), 2014. © David Rokeby. Endure sensory deprivation, surrender to surveillance cameras, and snap scarily close-up photos of your retina at these six participatory art exhibits, where … Edwin JanzenArtist Sousveillance Project, 2010-ongoing. © David Rokeby. He also developed a newer incarnation of the piece, Machine for Taking Time (Boul. Interactive online installation. © Steve Giasson. All of these images are archived, then stitched back together as a video that retains that same path, but uses images from different days. Auto-surveillance Encounter. 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. NEW YORK, NY.- Abrons Arts Center presents "Christopher Gregory-Rivera: Las Carpetas" -- a new exhibition that examines the bureaucratic residue of a 40-year-long secret surveillance program by the Puerto Rican Police Department and the FBI that aimed to destroy the Puerto Rican Independence Movement. The exhibition Watched! Hidden CameraArtwork | Kathleen Ritter, 2008. Subject to Scrutiny. In her work, Lowe often questions the everyday actions and interactions between the self and others in contemporary life.Website:http://melanielowe.tumblr.com/ In the exhibition, “Cake on the Icing,” curated by Shaun Dacey, InterAccess Electronic Media Arts Centre, Toronto. 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. In the group exhibition “Sorting Daemons: Art, Surveillance Regimes and Social Control,” Agnes Etherington Art Centre, Kingston, ON. 122 x 91.5 cm. Margaret Keller’s message in her Surveillance exhibition at Gallery 210 will fit right in with your Black Mirror binge. Conspiracy Case Home-Part-2 Eric Forman, Auto-surveillance Encounter, 2004 and 2015. W 1047cm x H 511cm x D 11.5cm. Image courtesy of the artist. Photograph by Guy L'Heureux. She holds a BFA from the Emily Carr University of Art + Design, a BMATH from the University of Waterloo and is a graduate of the National Ballet School of Canada.Website:you can see some of her work on vimeo, https://vimeo.com/ricardamcdonald Digital video projection installation on a 4 minute loop. From IP network cameras to HD-SDI security cameras!Japan’s largest-scale comprehensive exhibition of security products, offering state-of-the-art video surveillance systems. Installation, mirrored acrylic domes. W 4.5m x H13.7m x D .5m. Steve GiassonArtist This piece is part of a larger collaborative project entitled Nunavut Lights that explores representations and visualizations of the photographic archive. Instead, it enables users to connect with other open-source applications already in use by the cultural sector for online exhibition … Artwork | David Rokeby, 2001.Video projection, stored digital images, custom software | In multiple exhibitions, including “Early Delights/Deep Gardening,” curated by Su Ditta, Oakville Galleries, Oakville, ON.Machine for Taking Time was commissioned by the Oakville Galleries for the show “Earthly Delights/Deep Gardening.” In the piece, Rokeby’s “machine” consists of a surveillance camera that takes 1081 still images of the gallery’s gardens along the same path daily. The Art Gallery of Hamilton. State surveillance wasn’t the subtext of Evans’ work—he was the surveiller, after all—but as the art professor Stephanie Schwartz pointed out to me, the issue was being evoked in the creative realm at the time. Performance/installation (photographs, looped videos, drawings, office furnishings, TV sets). Installation. Artwork | Antonia Hirsch, 2009360-degree surveillance mirrors, fasteners. The 1979 suicide of Jean Seberg has been an inspiration to Margia Kramer and others after her series of art projects based on Seberg's F.B.I. Image courtesy of the artist. RuptureArtwork | Arnold Koroshegyi, 2008. Taken, 2002-2009. ArtistDatabase works: Ritter, Kathleen. Dave Kemp, Data Collection, 2009. © Thomas Kneubühler. 29 (Épier quelqu’un ou quelque chose de sa fenêtre), 2015-2016. Artwork | David Spriggs, 2014.Layered engraved glass sheets in half column display case | Exhibited in Sprigg's solo show PRISM at Arsenal MontrealIn Logic of Control, artist David Spriggs explores the architectural and conceptual design of the Panopticon in order to question the politics of seeing and being seen, and the structures of power that govern them. Eva Clouard, Mont-reel, 2015. 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. SVBONY SV36 Pocket Monocular ED Glass Mini Monoculars Waterproof Monoscope for Hunting Camping Surveillance Art Exhibition (8x25mm) Visit the SVBONY Store. From 2007 to 2012, Ritter was Associate Curator at the Vancouver Art Gallery where she organized a number of exhibitions, including How Soon Is Now; Beat Nation: Art, Hip Hop and Aboriginal Culture (with Tania Willard); and Rebecca Belmore: Rising to the Occasion (with Daina Augaitis).Website:http://kathleenritter.com/ To further draw out these parallels, a video in an adjacent area plays a continuous loop of an extreme close-up of an eye that blinks in slow motion. Edwin Janzen, Conspiracy Case, 2012. 2004 and 2015. Josh Begley, a data editor at The Intercept, tries to bring that kind of utility to the New York Police Department’s invasive surveillance of Muslims. You Saw Me?, 2008. Various locations. It’s just a microcosm of today’s vibrant surveillance art scene. Interactive media. Miniature surveillance camera, video projector. the invisible hand (after Adam Smith), 2009. Surveillance Art & Photography examines the complexities of modern surveillance with a focus on photography and visual media. Warning message Attention! Wednesday, 23 January, 2013 - 12:00 to Sunday, 3 February, 2013 - 18:00. 29 (Épier quelqu’un ou quelque chose de sa fenêtre), 2015-2016. Image courtesy of the artist. Kate McQuillen, X-rays Series (Drop Point Blade), 2013. In the performance, Forman allows participants to experience multiple vantage points as the viewed, viewer, and voyeur. © Arnold Koroshegyi. David Rokeby, Machine for Taking Time, 2001. 2013. The piece asks the viewer to question the relationship between that which is visible in contrast to that which is unseen. You can find more information about these pieces at the Nunavut Lights website, http://nunavutlights.com/.Website:you see more of his work at Nunavut Lights website, http://nunavutlights.com/ You may have already requested this item. Image courtesy of the artists. © Thomas Kneubühler. Photograph by Rachel Topham, Vancouver Art Gallery. 2016. He is also the author of the book Prisonniers volontaires du rêve américain (Voluntary Prisoners of the American Dream), Editions de la Villette, Paris, 2006.Website:http://www.nogoland.com/ 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. Arnold Koroshegyi Jason KuhrtArtist The Intercept is an independent nonprofit news outlet. 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. When movement—a person—has been found, the image is captured and removed from its background context. Performeur: Daniel Roy. Mont-réelArtwork | Eva Clouard, 2015. Mixed media. 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 Dermineur lives and works in Paris, France. 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. X-Rays SeriesArtwork | Kate McQuillen, 2013. Image courtesy of the artist. Artists and artworks: 2015. The Art of Detection: Surveillance in Society 1997, MIT List Visual Arts Center. © Dave Kemp. Price: $78.99 & FREE Shipping. Data Collection is composed of photographs of identification cards from 100 different people. Camera Obscura Project to Forge Unique Cross-Border Alliances ‘Seeing Across Boundaries’, April – October 2010, was a visual arts project that aimed to foster an appreciation of cultural identities across the Border through the art and science of observation. Image courtesy of the artist. Image courtesy of the artists. David Bouchard, Bruno Lessard, and Pierre Tremblay. © Edwin Janzen. Image courtesy of the artist. Performeuse: Alegria Gobeil. Exhibition | 2011Mounted as a partnered project between InterAccess Electronic Media Arts Centre, and the international workshop The New Transparency: Surveillance & Social Sorting at the University of Toronto | InterAccess Gallery, Toronto, ON.From the exhibition’s publicity release: “Cyber-Surveillance in Everyday Life is organized in conjunction with the international workshop of the same name, taking place at the University of Toronto from 12-15 May 2011. Image courtesy of the artist. Invisible Performance No. Art vs Reality, episode 1 gives us a simple break down of why art galleries exist. The two have been working together since 2000, creating a variety of sculpture, installation, and multi-media works.Website:http://www.marmco.com/ ArtistDatabase works: Marman, Jennifer and Daniel Borins. Home-Part-4 In the piece, Tremblay selects a variety of representations of the landscape captured automatically by the webcam, then recontextualizes them into a video cycle that gives motion and movement to the weather cycles of the images. This piece is a site-specific work that Rokeby recreated in several different locations. Installation. More video works by Ricarda McDonald are available at https://vimeo.com/ricardamcdonald. The proper video surveillance system can go a long way in protecting a museum's collections from acts of thievery and vandalism. © Jennifer Marman and Daniel Borins. Donna Szoke and Ricarda McDonald, And all watched over by machines of loving grace, 2012. Eric FormanArtist Jennifer Marman and Daniel Borins, Google, 2010. Image courtesy of the artist. Sousveillance Project Image courtesy of the artist. Kimmirut, Baffin Island, Canada. Kathleen Ritter 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. 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. Interactive online installation. // Janzen, Edwin. © Marika Dermineur and Stéphane Degoutin. Antonia Hirsch Censorship on art to normalize surveillance Posted on 9 October 2020 9 October 2020. VUB Home. David Spriggs Eva Clouard, Mont-réel, 2015. Germaine Koh, with Ian Verchere, Broken Arrow, 2009. Photo documentation by Stephen DeSantis. Photographe: Daniel Roy. 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. 2015. Image courtesy of the artists. This work draws attention to the role and bodies of the personnel tasked with supervising and controlling the behaviours of the public in particular ways. Jennifer Marman and Daniel Borins, Google, 2010. Bringing together multiple technologies, Tremblay’s work often questions perceptions of the movement and flux of everyday life. David Rokeby, Gathering, 2004. Art ‘ARTE DEL MAR: ARTISTIC EXCHANGE IN THE CARIBBEAN’ at the Metropolitan Museum of Art (through Jan. 10, 2021). 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. Such “sorting daemons” reinforce existing streams of influence and quietly create new ones. Pressure Monoprint on Rives BFK, 30" x 22." Private Property, 2006. The Visible SpectrumArtwork | David Spriggs, 2015. © Dave Kemp. Artwork | Arnold Koroshegyi, 2008.6-minute looped DVD video | In the group exhibition “Sorting Daemons: Art, Surveillance Regimes and Social Control,” Agnes Etherington Art Centre, Kingston, ON.Rupture is a video piece that juxtaposes the blurring of both photographic images and wireless technologies. The use of transparency (glass) in state architecture, most notably in political buildings such as the Bundestag in Berlin, is often used as a means to suggests a more open and democratic government and therefore society. Installation (detail), mirrored acrylic domes. © David Spriggs. Explore. 4.3 out of 5 stars 6 ratings. In multiple exhibitions, including “Early Delights/Deep Gardening,” curated by Su Ditta, Oakville Galleries, Oakville, ON. Goethe Institut, Toronto, ON. ©2021 Susan Cahill | Web Design by Travis North | Web Development by. Artwork | Dave Kemp, 2009. Numbered consecutively, each of these completed performances, in Giasson’s own words, “will first take the form of performative statements: this is, ideas of works, recorded in writing which, although they can stand on their own, they call and describe so many minimal or enigmatic gestures - often taken from everyday life or the History of Art - which could be placed in the public space or private space.” Invisible Performance No. De … Transparency Report Will Bringing Science Back to the White House Reinvigorate Forensics Reform. Online. Timed performance. Antonia HirschArtist © Antonia Hirsch. In the exhibition, “Cake on the Icing,” curated by Shaun Dacey, InterAccess Electronic Media Arts Centre, Toronto. ©Melanie Lowe. During the same period, governments worldwide have asserted vast new powers of surveillance, placing unwitting “participants” on an entirely different kind of stage. Germaine KohArtist Artwork | David Rokeby, 2002-2009.Video installation | 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.In Taken, Tokeby uses surveillance technologies to record and capture movement of people in the gallery space. Arnold Koroshegyi, Rupture, 2008, 6-minuted looped video installation. Steve Giasson, VOX, 2015 and 2016. Vancouver Community College. The kind of reporting we do is essential to democracy, but it is not easy, cheap, or profitable. High-priced works of art are prime targets for theft. 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