On invitation by artist Scott Kildall and with the support of Open Austria, I am spending October 2019 as artist in residence at Xenoform Labs, getting to know the very particular spirit of the Bay Area and continuing to write a film script.
Below, at a panel discussion about arts residencies, how they originated and what they offer – with: Tony Grant (Sustainable Arts Foundation), Vero Bollow (Stochastic Labs), Kija Lucas (The Growlery), Clara Blume (Open Austria), Scott Kildall (Xenoform Labs), Manu Luksch (artist), Dale Djerassi (Djerassi Resident Artists Program)
Last week, the film enthusiasts of Anarchivia (founded by documentary filmmaker Gregorio Rocha) & ULTRAcinema (founded by pre-digital experimental film specialist and filmmaker Michael Ramos-Araizaga) hosted a couple of screenings of my films on surveillance, hyper regulation and manipulative micro-targeting. It provided me with the wonderful occasion to visit their space, which is located inside the Estudios Churubusco. While Anarchivia is a kind of documentation centre and workshop space, dedicated to keeping celluloid alive, ULTRAcinema is Michael’s film festival project, which takes films beyond the mainstream to audiences outside the Cineplexx. Subscribe to their news feed to make sure you’ll catch a future event!
Last year, we filmed ALGO-RHYTHM in Dakar a hiphop musical about electioneering with Senegalese rappers Xuman OMG, King Kruh, Lady Zee. This Aljazeera TV report by Nicolas Haque about Sunday’s elections entwines its reporting with questions about free choice, manipulation and the role of social media as posed in the film. A great tandem!
Surveillance Studies. A Reader: Congratulations, Torin and David! (… proud for legal readymade FACELESS (2007) to be included in the Art and Culture section in Andrea Mubi Brighenti‘s text Artveillance: At the Crossroads of Art and Surveillance, p389ff, on surveillance art and visibility regimes)
The Swiss Augenoptikvergenossenschaft Team 93has just published AUGENBLICK MAL (Winterthur 2018, ed Sabine Müller, Jacqueline Vinzelberg)… at the occasion of its 25th anniversary in German and French. Behind it’s eye-catching cover the book compiles reflections on the history of seeing and seeing devices from glasses to CCTV – featuring Manu’s work FACELESS.
Johannes Zeller’s article for the Goethe Institute on artists exploring AI includes my narrative work ALGO-RHYTHM.
Caught the last day at Mozfest 2018, turned into a tracker as part of a in-venue game, caught a critical panel on AI (‘Collateral Damage’, that didn’t address the challenge of quasi-monopolistic corporate players enough though), and browsed at least a dozen stalls and workshops
‘What lies behind the British government’s commitment to the conservative regional order in the Gulf?’ – was the question in the press release for David Wearing’s book launch that drew me to the Brunei Lecture Theatre yesterday evening. Speaking to a full-to-bursting auditorium were David Wearing, Iona Craig and Owen Jones, who we filmed to be included in my documentary film The Billion Dollar Dissident. Here a link to the publication AngloArabia: Why Gulf Wealth Matters to Britain, by David Wearing
Enjoyed the UnBias presentation at V&A’s Digital Design Weekend – Fairness Toolkit by Proboscis: Algorithms, bias, trust and fairness: how do you engage young people is understanding and discussing these issues? The kit is now available for download here, check it out!
Paula Albuquerque : The Webcam as an emerging cinematic medium. Amsterdam University Press. Positive surprise to read a about my film FACELESS being contextualised yet from a new angle, and this more than 10 years after its release!