Opening Thursday, April 14th at REVERSE 7pm -9pm
¨Beautiful Interfaces: The privacy paradox¨ is a group show curated by Helena Acosta & Miyö Van Stenis. Featuring work by Jennifer Lyn Morone, Heather Dewey Hagborg, La Turbo Avedon, Annie Rose Malamet and Carla Gannis. The exhibited work will live on a wireless network accessible through routers at REVERSE. The routers have been hacked and are not actually connected to the Internet. Each router has a private network, which visitors must login to through their own devices – cell phones or iPads – to view the artwork. The exhibiting artists explore the dichotomy between the private and the public, creating a platform for distribution of data on an independent and anonymous network.
In the era of algorithm prediction all our online actions have a digital trace, which are used by companies and governments to predict our behaviors. The Internet’s purpose is to collect and quantify each action – becoming a medium for surveillance.
Everyday online social practices could look like harmless actions through a naive eye, but contain the potential for unexpected consequences when they are traced and connected to algorithmic surveillance systems. In less than five years facial recognition algorithms will be ubiquitous. Facebook has recently added facial recognition technology to their platform, becoming more deeply integrated into our smartphones. These new applications will facilitate easy reconstruction of any random encounter we have on the street that has been captured by a camera.
Our increased communication practices on the Social Web result in an increase of personal information online. The ‘Privacy Paradox’* suggests that despite Internet users’ concerns about privacy, their behaviors do not reflect those concerns. Even though we keep insisting on how much we care about our data, the statement ‘privacy is important!’ has become a void belief in our contemporary society.
HOW ARE WE GOING TO USE YOUR KIND DONATIONS?
We´d like to use your kind donations to pay the participating artists’ fees which works out to $900, the rest of the money will go to purchase the routers that need to be hack, each router cost 65$, we need a 6 which a total cost of $390 for the exhibition. Our fund goal is to recollect $1,290 Any additional funds raised will help offset the cost of materials and installation.
ABOUT THE ARTISTS
Carla Gannis’ work explores the concepts of nature and the politics of identity, drawing from art history, technology, theory, cinema, video games and speculative fiction. Identifying as a visual storyteller, Carla uses 21st Century representational technologies to narrate through a “digital looking glass”, reflecting on power, sexuality, marginalization and agency. She is fascinated by contemporary modes of digital communication, the power (and sometimes the perversity) of popular iconography and the situation of identity in the blurring contexts of technological virtuality and biological reality.
Since 2003 Carla’s work has appeared in 20 solo exhibitions and numerous group shows both nationally and internationally. Her 2015 solo exhibitions include “The Garden of Earthly Delights”, displayed at both Real Art Ways (Hartford, CT) and at The Hudson River Museum (Yonkers, NY). Features on her work have appeared in ARTnews, The Creators Project, The Huffington Post, Wired, Buzzfeed, FastCo, Hyperallergic, Art F City, Art Critical, The Wallstreet Journal, The New York Times and The LA Times, among others.
Annie Rose Malamet is a visual artist, writer and poet. Her work addresses the relation between female net art production and visual vulnerability, exploring the woman’s body to navigate conversations about visibility. Her interactive website, ANNYFANNY.info, invites visitors to click through various photos and videos, journeying through a mediated, yet labyrinthine narrative. The site includes new, original footage as well as images from an extensive archive documenting Annie’s experiences from the age of 15 and on. Other significant artistic projects include a solo performance in 2014 at Vector Gallery. Annie additionally serves as a Special Projects Manager of the poetry collective Gemstone Readings and writes art reviews for various online publications. Her current artistic interests include individual isolation and the Internet, digital trauma, anonymity and sex work.
Heather Dewey Hargborg works at the intersection of art and science, placing an emphasis on conceptions of the natural and the artificial. Drawing from diverse fields including biology, computation, sculpture and critical design, Heather engages in art as practice based research; a means of exploration to probe the deep and often hidden structures of media, technology and science that dominate the contemporary moment and frame our cultural imagination. She has long been fascinated by language and speech, learning and knowledge representation, algorithmic models and metaphors, biological and ecological systems and the cultural organization of data as information.
Heather has shown work internationally at events and venues including the Poland Mediations Biennale, the Norway Article Biennale, Ars Electronica, Transmediale, Centre de Cultura Contemporània de Barcelona, the Science Gallery Dublin, PS1 MOMA, the New Museum and Eyebeam Art and Technology Center in New York City. Her work has been widely discussed in the media, on the New York Times, the BBC, TED and Wired. Heather is currently an Assistant Professor of Art and Technology Studies at the School of the Art Institute of Chicago.
Jennifer Lyn Morone is an artist, designer and experimenter whose work playfully challenges human-designed systems that undermine the individual. Her work can be described as thought experiments put to practice in long-term, subversive and collaborative life-works. Jennifer’s focus is on economics and her methodology involves reappropriating structures (i.e. political and business systems) then deconstructing and redesigning them, taking into account concerns and realities of today and especially those anticipated in the future. By pushing her designs to the extreme, she aims to expose how, inherently, the exploitation of economically driven decisions and agendas impacts the fabric of modern human existence.
Jennifer has shown work internationally at events and venues including “The Human Face of Cryptoeconomies” at Furtherfield Gallery (London), “GLOBALE:Infosphere, ZKM” at the Center for Art and Media (Karlsruhe, Germany), “Data Rush”, Noorderlicht Photo Festival, curated by WAMS (Groningen, Netherlands), “Algorithmic Rubbish: Daring to Defy Misfortune, SMBA” (Amsterdam, Netherlands) and “Networked Bodies”, Watermans, London, UK.
LaTurbo Avedon is an artist and resident of the Internet. Without a real world referent, LaTurbo is a digital manifestation of a person that has never existed outside of a computer. Avedon’s digital sculptures and environments disregard the lack of physicality and instead emphasize the practice of virtual authorship. Her works are regularly distributed online and have been exhibited internationally at Transmediale (Berlin), NRW Forum (Düsseldorf), Museum Angewandtekunst (Frankfurt), CICA Museum (Gimpo), Newman Festival (Druskininkai), NRW Forum (Düsseldorf), Transfer Gallery (New York City), Jean Albano Gallery (Chicago) and Galeries Lafayette (Paris), among others.
ABOUT THE CURATORS
Helena Acosta is a researcher, lecturer, and new media art curator interested in digital culture and socially engaging projects that bridge the line between art and activism. Her curatorial work includes a series of projects related to the socio-political crisis in Venezuela. One project, “From the Lleca to the Cohue” – exhibited at Tokyo Wonder Site, Japan in 2012 – focuses on the use of photographic education inside the prisons of Venezuela. In February of 2014, I founded “Dismantling The Simulation”; a collective for visual activism and guerrilla actions that seeks to question and dismantle the different discourses, events, and information distribution schemes operating in Venezuela. Recently, in collaboration with German artist duo Refrakt, their released Hack De Patria (HDP); an art intervention mobile application, that allows users to see an underlying message behind political propaganda in Venezuela using augmented reality technology.
Her work explores from technological interfaces, the operating systems, softwares and other devices involved in the Internet everyday making them my aesthetic material. The existing interest in representing the relationship between humans and machines, poetry and computational science, turn my investigation in to a experimental work where the machine is expressing itself, as a kind of hyperbolic reflection of their world, first of all as an performative action where the value is the human action in pursuit of error, the unexpected, creating a meeting point between the human, the machine, the error and the undeniable desire of poetic beauty.
ABOUT THE SPACE
REVERSE is a non profit, multidisciplinary art space with an emphasis on new and experimental forms of expression. Run by artists, our mission is to support innovative and boundary breaking projects that foster dialogue and artistic collaboration at the intersection of art, science and technology.
REVERSE offers a creative environment for the development of new ideas and cross-disciplinary cultural practices, promoting peer to peer knowledge exchange. We support emerging and mid-career artists and curators through and active calendar of exhibitions, talks, workshops, and performances. Our program places a strong emphasis on our relationship with technology and how it affects the creative process of art-making, centering on projects that push new digital tools into creative realms.
HACKING THE ROUTERS
A router is a networking device that forwards data packets between computer networks. Routers perform the “traffic directing” functions on the Internet. By hacking them, basically we are erasing its predetermined function, to transforming it into a device that offer a private network that is not connected to internet that allows the distribution, in this case, of art as data.
The hacking process of this exhibition is powered by Occupy.here an open source project developed by Dan Phiffer in 2011. Occupy.here it’s a custom OpenWRT, free, anonymous and uncensored resource for share media information in the virtual space. The project has developed in parallel with the Occupy movement and seeks to offer a network of virtual spaces where both committed activists and casual supporters can communicate. Due to its distributed and autonomous design, Occupy.here is inherently resistant to Internet surveillance.
PROGRAMMING ACTIVITIES Panel Discussion
The Post Privacy panel discussion will part of Creative Tech Week New York 2016.
The panel will be focused on the concept of post-privacy. Is privacy becoming a thing of the past? Datafication as a phenomenon has been spreading into every nook of our daily lives; today our existence has a reflection in a digital grid where almost every movement leaves a footprint that can be tracked, and pointed. Does this reality make us more vulnerable to the eyes of evolving power agencies? In this permeable context, what counter surveillance strategies can we rely on?
Researcher Christian Heller has coined the term “post-privacy” to define the dissolution of privacy in the digital age, as a way to capture what might be an inescapable change in the privacy paradigm. As technological progress gains momentum, our interaction with digital tools becomes increasingly recurrent, not only in the way we interact with our governments and authorities, but also in our personal lives. Technology has become an extension of our identities.
Panelists will discuss the concept of privacy and overexposed behaviors in the digital age. They are invited to explore these questions: is the protection of privacy a lost battle? What methods can we use to deal with a potential post-privacy data model? Can we envision surveillance, or privacy, working symmetrically between power structures and civilians? Is this an utopian assumption?
Dan Phiffer is a programmer and artist based in Brooklyn working on projects that use computer networks as a raw material. In the Fall of 2011 Dan created Occupy.here as an alternative web forum for the Occupy Wall Street encampment and its affiliated working groups. Unlike theofficial OWS online forum, Occupy.here was only reachable via local wifi darknets at Zuccotti Park and at 60 Wall Street, another nearby Privately Owned Public Space. Each Occupy.here wifi node is designed to be disconnected from the Internet, operated independently in an archipelago of affiliated open virtual spaces. Dan is currently a fellow at Columbia’s Tow Center of Digital Journalism, and has had projects exhibited at the Museum of Modern Art, MoMA PS1, and SFMOMA.
Lior Zalmanson is a writer, lecturer and researcher, interested mainly in digital culture and the information society. His research interests include social media, pricing of information products, consumer engagement and user generated content. His research has won awards and grants by Fulbright Foundation, Dan David Prize, Google, Marketing Science institute and more. Lior has written on digital and online behavior for Wired UK and Alaxon. Lior is also the founder of the Print Screen festival, Israel’s digital culture festival, which explores themes of digital culture in cinema and audio-visual arts. Furthermore, he is a grant and award-winning playwright and screenwriter.