October 14, 2016 17:52
December 18, 2016 19:52
In this exhibition James Bridle examines the growth of surveillance culture while critiquing both its operation and its representation. The exhibition explores both the persistence and cognitive effect of surveillance, while attempting to avoid adding to its ubiquity and becoming complicit with it. The works in the exhibition deal with these questions by reconfiguring surveillance material as aesthetic abstractions, by degrading it, reconfiguring it, by making it accessible and interactive. All of the works question the value of such imagery, the way it is constructed and understood, and the motives of those who create, assemble, and view it.
The exhibition includes the recent video series Anicons, the interactive Rorschmap, the online visualisations Rorschcams as well as new work. Several of the works will be site-specifically modified for this show at Galleri Image.
‘Apophenia’ is a term from psychiatry which refers to the human tendency to perceive meaningful patterns within random data, spanning from Rorschach tests to statistics and machine learning. It is commonly diagnosed in early-stage schizophrenia - alongside paranoia, and the fear of being watched. Simultaneously with the solo show Apophenia James Bridle will show the digital film Seamless Transitions (2015) at ARoS. In connection with the opening of Seamless Transitions, Bridle will present an artist talk at ARoS on Saturday October 15, 2 pm James Bridle is also part of the project and the group exhibition WATCHED! Surveillance, Art and Photography, which will be on show at Kunsthal Aarhus from November 16 – December 31 2016. In connection with WATCHED! a comprehensive book has been published with artist presentations and newly written essays by researchers and theorists in the field, including Peter Weibel, Tom Holert, Hille Koskela, Shoshana Magnet and James Bridle. The book can be acquired at Galleri Image for 285 DKK.About James Bridle: James Bridle is a British artist and writer based in Athens, Greece. His artworks have been commissioned by galleries and institutions and exhibited worldwide and on the internet. His writing on literature, culture and networks has appeared in magazines and newspapers including Wired, Domus, Cabinet, The Atlantic, the New Statesman, the Guardian, the Observer and many others, in print and online. He lectures regularly at conferences, universities, and other events. His formulation of the New Aesthetic research project has spurred debate and creative work across multiple disciplines. His work can be found at http://booktwo.org.
About WATCHED! Surveillance, Art and Photography: The artists in WATCHED! address issues of security, exposure and power, drawing on facial recognition technology, Google Street Views, video surveillance, satellite and virtual imagery, as well as various photographic techniques. The works are from the past ten years, and reflects how surveillance has become increasingly ubiquitous and complex, and how it creates new forms of discrimination and segregation, but perhaps also new means of resistance, ‘sous-veillance,’ and solidarity. WATCHED! is part of a research project on surveillance, art and photography in Europe after the millennium initiated by the Hasselblad Foundation researcher and curator Louise Wolthers.
Find more information about WATCHED! on the Hasselblad Foundation website here.
The exhibition is supported by the Danish Arts Foundation