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Rutger, Prins - Discord copy

Rutgers Prins Discord

The curatorial concepts are pioneering, the viewing experience nerve-wracking, and the conclusions occasionally terrifying, but the exhibition DATA RUSH — unlike the powers and digital infrastructures upon which it sheds light — will leave you empowered.

I just wrote, for Vantage, an in-depth review of Wim Melis and Hester Keijser‘s show DATA RUSH, which was the centerpiece to this years Noorderlicht Photofestival in the Netherlands.

The piece is titled This Exhibition Sees Our Ties to Data, Reveals the Future Is Now but it might as well be titled Finally, a Photography Show That Actually Deals with Our Relationship to Screens and Networks!

Arnold Koroshegyi

Arnold Koroshegyi. Electroscapes, 2011-2012

It was a slow process getting my head around the sheer volume of artists’ projects (45) in the show, but it was worth it. Virtually every project is worth a symposium in itself.

For photography, a comparatively conservative medium, DATA RUSH is light years ahead of most presentations. It’s precisely where our discussions about photography need to be if it we’re to comprehend the ways in which we are subject to images and image indexing.

Read the full piece which also boasts bigger images and some photos not included here below.

Hannes Hepp

Hannes Hepp. Not So Alone – Lost In Chatroom, 2012-2015

fotoftexprojektet-ii

Simon Høgsberg Grocery Store Project

Andrew Hammerand

Andrew Hammerand. The New Town, 2013

Fernando Moleres. Internet Gaming Addicts, 2014

crispin2

Sterling Crispin, Data Masks

Julian Röder. Mission and Task, 2012/2013. Situation room of the FRONTEX headquarters in Warsaw, Poland, June, 2014

Catherine Balet

Catherine Balet. Strangers in the Light, 2009

Nate Larson & Marni Shindelman. Geolocation, 2009 – present

Dina Litovsky

Dina Litovsky. Untag This Photo, 2010-2012

myrit

Daniel Mayrit’s You Haven’t Seen Their Faces (detail)

Mintio

Mintio. ~T.H.O.H.Y~ (aka The Hall of Hyperdelic Youths), 2010

Heinrich Holtgreve

Heinrich Holtgreve. The Internet as a Place, 2013-2015
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An artist’s use of photography to stick it to the man

Asim Rafiqui brings to our attention the response of Hasan Elahi, a Bangaldeshi-born American citizen, to government suspicion and the FBI’s unwillingness to remove him from the “watch-list”.

Since 2002, Elahi has monitored his own movements on his website Trackingtranscience.net

Rafiqui:

Elahi posts his day, every single mundane aspect of it. A globe-trotting Professor of media, he posts all his activities, complete with GPS coordinates and the date/time stamps at the site, effectively monitoring his daily life. His meals, toilet breaks, airport waits and almost all the mundane acts that define 99% of what constitutes modern life. His server logs reveal that the Pentagon, and even the Executive Office of The President have clicked in while the FBI continue to monitor his activities through this site itself. Our tax payer’s money at work.

Pictured below, Elahi’s toilet breaks.

Two years ago, Elahi appeared on the Colbert Report and explained that if 300 million Americans did this, the FBI would have to employ millions of agents just to keep up with the data flood. Subversive, funny and the best type of protest … except he’s left with no privacy.

HASAN ELAHI

Hasan M. Elahi is an interdisciplinary media artist with an emphasis on technology and media and their social implications. His research interests include issues of surveillance, sousveillance, simulated time, transport systems, and borders and frontiers. Elahi is currently an Associate Professor at the University of Maryland. He previously taught at San Jose State University; Rutgers; the University of South Florida in Tampa, Florida; West Virginia University; Wanganui School of Design, in Wanganui, New Zealand; and also in Houston, Texas.

Elahi’s own site – http://elahi.umd.edu/

The Visible Man: An FBI Target Puts His Whole Life Online, Wired.com, by Clive Thompson, 05.22.07.

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Found via Andrew Jackson’s Writtenbylight blog

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