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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. 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. Not So Alone – Lost In Chatroom, 2012-2015
Simon Høgsberg Grocery Store Project
Andrew Hammerand. The New Town, 2013
Fernando Moleres. Internet Gaming Addicts, 2014
Sterling Crispin, Data Masks
Julian Röder. Mission and Task, 2012/2013. Situation room of the FRONTEX headquarters in Warsaw, Poland, June, 2014
Catherine Balet. Strangers in the Light, 2009
Nate Larson & Marni Shindelman. Geolocation, 2009 – present
Dina Litovsky. Untag This Photo, 2010-2012
Daniel Mayrit’s You Haven’t Seen Their Faces (detail)
Mintio. ~T.H.O.H.Y~ (aka The Hall of Hyperdelic Youths), 2010
Heinrich Holtgreve. The Internet as a Place, 2013-2015
Through a website, positive networks, karma in the plus column, and not a small amount of effort, Kevin Miyazaki‘s Collect.Give has steadily been making the world a better place. It’s ridiculous that I’ve not sung the praises of Collect.Give‘s work here on PP before.
In just a few years, Collect.Give has raised tens of thousands of dollars through print sales for worthy charities hand-picked by the photographers themselves.
The latest offering is Love You by Nate Larson and Marni Shindelman. It is from their project Geolocation that, according to Larson, “tracks geotag coordinates associated with Twitter tweets and pairs the text with a photograph of the originating site to mark the virtual information in the real world.”
I’m still undecided about the merits of Geolocation. I saw it at Blue Sky Gallery recently. The images are well made and the concept is stronger than most, but I’m still not sure. Then again, I recently, I big-upped the work of Dan Gluibizzi because he has managed to find a constructive use of – and end point to – Tumblr, so I should be big-upping Larson and Shindelman’s Geolocation because they have managed to step back, find a constructive use of – and an end point to – Twitter.
The SPLC is an incredibly effective and committed advocacy group of lawyers, researchers and paralegals based in Atlanta, Georgia. The SPLC “fights hate and bigotry and seeks justice for the most vulnerable members of our society.” Often this means providing legal assistance and representation to poor prisoners denied basic human rights during their incarceration, trial hearings and appeals.
I met with several staffers at the SPLC last year and was deeply impressed by SPLC’s work and deeply, deeply effected when I learnt about the inequalities of Southern states’ criminal justice systems. The SPLC mounts lawsuits within the states of Georgia and Alabama (two of the poorest states in the union) against inadequate medical care, prosecutorial misconduct and institutional abuse. Never before have I seen so clearly the link between the prison system and the social inequalities that feed it.
SPLC gives the voiceless the possibility of a voice, despite the obstacles.