a tags*onomy of surveillance
addressing classificatory systems in current surveillance practice
Working group led by paula roush addressing classificatory
systems in current surveillance practice with a special focus on electronic
tagging of life (human and animal) and commodities. The working session
for the KISSS launch at the Whitechapel Gallery, was preceded by a power
point presentation on electronic tagging. during which paula presented
images of Marion Manesta Forrester starring in Bowville.
Bowville is a performative documentary fictionalising
the bio-political in electronic tagging. The piece documents the networked
performance during which Marion Manesta Forrester was electronically tagged
and had three days to win her citizenship to Bowville.
For the exhibition at the Conical Gallery, the installation of Bowville's
documentation, linking the origins of the State's photographic surveillance
of women to current use of geo-tagging, is complemented by projects exploring
artists’ subversions and counter practices of surveillance.
Psychological Art Circus'[>]
two year conceptual itinerary using Josef B's seminal case history of
Fraulein Anna O as a runic guide toward unique live actions is presented
in the dvd documentation of their work.
Maria Kheirkhah’s[>] work on bio-data ‘evidence 1'
consists of 25 blood samples from individuals with different status
and ethnic backgrounds that you need to watch closely through a magnifying
glass. Each blood sample is tagged with the owner’s cv but not
in the correct order, deliberately confusing the identification process
through an arbitrary database. The accompanying skulls of a fictional
individual further amplify this process of misidentification.
Suzana Rezende’s[>] project
WARCHALKING proposes chalk molded in the shape of warchalk tags. Her
silver boxes bring people hunting for open nodes into closer contact
with wireless networks. Jewellery facilitating the tagging process…
Eva Rudlinger’s Moving Mirrors
are part of POLAR installation reflecting on movement and memory. As
they move in circular motion, the mirrors survey the space without leaving
a trace. Mimicking surveillance without recording it, they reflect each
other from different angles creating a space within a space. Foucault
wrote about the mirror as a mixed space between utopia and heterotopia.
” It makes this place that I occupy at the moment when I look
at myself in the glass at once absolutely real, connected with all the
space that surrounds it, and absolutely unreal, since in order to be
perceived it has to pass through this virtual point which is over there.”
During the romantic period the national survey began to order the land
and cartography as well as classification of clouds in meteorology began.
Surveyor and the romantic tourist gained an objective representation
of space without the interference of engagement with the terrain. The
mapping of a perfect spot to view the landscape as an object became
value for use.
Emma Wolukau-Wanambwa's [>]
'A Short Video About Tate Modern' (2005) is a response to questions
of visibility and voice within a British art museum
Reinhard Krehl, Silke Steets and Jan Wenzel's[>] present Leipzig
Protest Atlas (July 2005). Spatially speaking, protest is a form of
action that normally does not posses its own space, but temporarily
penetrates into the spaces of the other / the powerful. There it abrogates
rules, creates conflicts and afterwards disappears again on this location.
To put it in different words: protest is something performative. It
becomes visible only if it takes place. "Leipzig Protest Atlas"
maps spatial and temporal dimensions of local protest.