Exhibition poster, 2015.

Border Cultures: Part Three (security, surveillance)

Exhibition | 2015

Final exhibition in a three part series | Art Gallery of Windsor, Windsor, ON.

This exhibition was organized by and mounted at the Art Gallery of Windsor from 31 January to 10 May 2015.  The final exhibition in a three-part series, Border Cultures: Part Three (security, surveillance) was a group exhibition that, according to its press release, “examines the impact of heightened militarization along national boundaries that has intensified deportations, detentions and mechanisms of surveillance of migrants and foreigners.” The previous two exhibitions in this series focussed on homes, land (2013), and work, labour (2014). Taken together, the three displays were “conceptualized as a research platform, bringing together regional, national and international artists to examine the complex and shifting notions of national boundaries.”

Website:

http://www.agw.ca/exhibitions/upcoming/404

Exhibition poster, 2011. Photograph used on poster by Brenda Liu.

Cyber-Surveillance in Everyday Life: An Art Exhibition

Exhibition | 2011

Mounted 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. 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. The five works brought together in Cyber-Surveillance in Everyday Life address the ubiquitous and distributed nature of surveillance.” Organized by InterAccess Electronic Media Arts Centre in partnership with The New Transparency: Surveillance & Social Sorting, this exhibition was arranged in conjunction with the international workshop of the same name, which took place at the University of Toronto from 12-15 May 2011.

Artists and artworks:

• David Bouchard, Bruno Lessard, and Pierre Tremblay, Meta Incognita – variations estivales, time-lapse video and soundtrack.
• Derek Dunlop, A Lover’s Geography, photographs.
• Kristen Atkins, Portrayal Portal, installation with laptop and data projection.
• Jon Rafman, The Nine Eyes of Google Street View, screen captures of Google Street View.
• Tomer Diamant and Mathew Hannam, Comment/Like – Code of Quick Response, installation.

 

Cover of exhibition catalogue, 2010.

Sorting Daemons: Art, Surveillance Regimes and Social Control

Exhibition | Curated by Jan Allen and Sarak EK Smith, 2010

Mounted as a partnered project between the Art Centre and The New Transparency: Surveillance and Social Sorting at Queen’s University. | Agnes Etherington Art Centre, Kingston, ON.

Sorting Daemons was mounted at the Agnes Etherington Art Centre at Queen's University (Kingston) from 16 January to 18 April 2010. From the exhibition’s publicity release: “Information-gathering systems increasingly affect our lives, tracking our movement and consumer preferences. Such “sorting daemons” reinforce existing streams of influence and quietly create new ones. 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.

Artists and artworks:

• Brenda Goldstein, Panopticon, 2003, DVD.
• Antonia Hirsch, The Invisible Hand (after Adam Smith), 2009, surveillance mirrors.
• Dave Kemp, Data Collection, 2009, photographic installation.
• Tran T. Kim-Trang, Ocularis: Eye Surrogates, 1997, DVD.
• Germaine Koh and Ian Verchere, Broken Arrow, version 2, 2009, electronics and custom software.
• Arnold Koroshegyi, Rupture, 2008, 6-minuted looped video installation.
• Ruthann Lee, Trying to Concentrate, 2004, DVD.
• Michael Lewis, Some will take more prodding. Others will be more difficult, 2008, oil on canvas.
• Jill Magid, Evidence Locker: Trust, 2004, DVD and book.
• Walid Ra’ad, Part 3: Miraculous Beginnings, The Dead Weight of a Quarrel Hangs, 1999, DVD.
• Kathleen Ritter, Hidden Camera, 2006, Pigment print.
• David Rokeby, Sorting Daemon, 2003, computer, LCD screen, camera, and projection.
• Tom Sherman, SUB/EXTROS (1), SUB/EXTROS (2), SUB/EXTROS (3), 2001, DVD.
• Cheryl Sourkes, Cam Cities, Virtual Toronto, 2001, inkjet on unstretched exterior vinyl banner, steel bar.
• John Watt, Scannex Man, 1981, DVD.