SURVEILLANCE

SURVEILLANCE

In our society, the individual paradoxically appears banal and enigmatic at the same time. Emerging from a dataset overloaded with likes, clicks, links and visits, the individual is perceived as entirely transparent. Deviations from the norm or changes in behaviour are immediately noticeable within the vast mass of (meta) data. The mirror image that emerges from such life patterns is distorted, but perhaps it reveals more about our tics, habits and thoughts than we ourselves might realise. The assumption that surveillance serves the purpose of increased conformity is just one of many generalisations. Surveillance is no longer solely associated with just crime, terrorism or threat defence. It has become a tool of the capitalist system, employed to achieve various institutional goals.1

“Information has become a valuable commodity. It must be mined and hoarded,
and it will change capitalism.” Tiqqun 2, 2001

The acceptance or rejection of surveillance systems by society depends on the narratives presented by the state, corporations, and other entities. When comprehensive, top-down surveillance is presented as a system of cooperation and care, it is widely applauded. The state reinvents itself as a digital administration or agency - from «Big Brother» to «Big Mamas» watching you. The use of data and the development of industries and infrastructures for this purpose is wrapped up in a discourse of care and community.  

“We know where you are, we know where you›ve been, we know more or less what you›re thinking about.”
Eric Schmidt, former CEO of Google, on 23 May 2013 

We have become a “black box society” in which “a one-way transparent mirror” grants powerful economic actors unprecedented insight into the smallest details of our everyday lives. While conversely, we know next to nothing about how these actors use the knowledge, they have gained to influence our and their own decisions.2 

SURVEILLANCE is an artistic exploration of the complex interdependencies of surveillance and artificial intelligence in global power structures. The artworks integrate defining historical moments - from war drone footages and satellite images to Wikileaks revelations. As part of the exhibition, the theme of surveillance will be examined in the exhibition space. SURVEILLANCE addresses the hidden and obvious surveillance in our everyday lives and its influence. The exhibition aims to provoke a visual discourse on the profound impact of surveillance on our privacy. The abstract aesthetics of the artworks invite viewers to engage in deep, critical reflection, underscoring the urgent need for regulatory measures on surveillance, data protection, and the relentless advancement of AI technologies.

In the SURVEILLANCE series, surveillance is symbolised by spherical forms that point to the control efforts exerted by governments and institutions worldwide. The elusive structures of the images refer to our inability as individuals to fully comprehend what happens to our data and how we can be influenced by targeted manipulation.

A fine grid of dots on transparent Plexiglas signifies the alarming amount of information that is stored without our consent. The superimposition of several Plexiglas panels creates a depth of field that illustrates the rapid progress of technology. The resulting moiré-effect introduces an apparent movement in the light objects, suggesting an endless loop of change, whereby each viewing can reveal something new. The audience is integrated into the exhibition space through deliberately placed elements, thus becoming part of the exhibition and the dialogue that invites us to actively reflect on the control of this development.

1 vgl. Maya Indra Ganesh, Stephanie Hankey, Marek Tuszynsk, 2017. 
2 Frank Pasquale, 2015.