Mine, yours, ours 2016 / Moje, tvoje, naše 2016 by Drugo more

THURSDAY, 07 APRIL

20.00

The Black Chamber

EXHIBITION OPENING ♦

FRIDAY, 08 APRIL

11.00

AMY SOU WU

Tactics and Poetics of Invisibility

INVISIBLE INK WORKSHOP

♥

17.00

EVAN ROTH

Internet Landscapes

PRESENTATION

♣

18.30

NINA BOELSUMS

Unveil

PERFORMANCE + DISCUSSION

♣

19.00

TOMISLAV MEDAK

Beyond the Paradigm of Technologies of Control

PRESENTATION + DISCUSSION

♣

21.00

JAMES BRIDLE

Black Box, Black Chaimber PRESENTATION + DISCUSSION

♣

Real and imaginary PRESENTATION Black Chambers. A brief + DISCUSSION introduction to invisibility, paranoia, surveillance and the Internet.

♣

The Panopticon: Resistance is Not Futile

PRESENTATION + DISCUSSION

♣

PARTY

♣

SATURDAY, 09 APRIL

18.00

BANI BRUSADIN

22.00 ANNIE MACHON 22.00

♦ < ♥ ♣

Mali salon, Korzo 24, Rijeka OKC Palach, Kružna 8, Rijeka Filodrammatica, Korzo 28⁄1<, Rijeka

his year's edition of Mine, Yours, Ours the network, we get an outer window (<email, festival deals with surveillance as one Facebook, Instagram, Twitter, Snapshot, etc.<) of the most important issues of contempo- that illuminates us and enables the view of our rary era. With its main function to elimina- cell to those watching from the tower (<secret te deviation and steer the population in the services, internet providers, Google, state direction of functional behavior – whatever agencies, etc.<). Privacy is achieved by hanging functional behavior might mean - certain curtains on the windows, and even though the type of surveillance is present in every civi- state allowed us to use opaque curtains in orlization. The one who surveils always takes der to hide ourselves from the tower, the dethe position of power, not just in a way of mands to move them apart are getting louder defining the boundaries of acceptable beha- every day. If we do it while still trying to keep vior, but also in a sense of concealing its own our privacy, that means we need to hang the deviations. This is the reason why we don't curtains on the window looking at the outer trust those who surveil, even if we accept the- world so we coulddisable the penetration of ir definition of what is acceptable. light into the cell and thereby avoid the conOn the other hand, people have always stant glance. This year's theme is actually a been capable of finding the space for deviati- simple question of the complex architecture on and subversive action, as well as the way of surveillance – how to make our cell obscure. for surveilling those who surveil them. Contemporary world hasn't changed much in that — Davor Mišković sense, except the fact that we came closer to the organizational model of panoptic surveillance. Back in the 18th century, Jeremy Bentham designed the spatial image of that system: a circular building divided into cells, with a tower at its centre. Windows on the tower walls are facing the inner side of the circular building, whose cells have two windows – one set in the direction of the tower, the other looking outside, letting the light into each cell. Their occupants are thus backlit and their shadows can be observed from the tower. Constant visibility of the captives is Panopticon's main effect, surveillance becoming incessant in its consequences, regardless of its actual implementation. Bentham set up a basic principle that power has to be visible and unverifiable. Visible – captive always has the view of the tower he's being observed from. Unverifiable – captive never knows if someone is actually watching him, but he surely knows it is always possible. When we apply this spatial image to

EXHIBITION:THE BLACK CHAMBER opening: 7 April at 8 pm EXHIBITION IS OPENED UNTIL: 30 April Mali salon, Korzo 24, Rijeka Working hours: Tuesday – Saturday 11 am – 8 pm / Sunday 11 am – 1 pm and 5 pm – 8 pm

PRODUCTION: Drugo more, Aksioma – Institute for Contemporary Art, Ljubljana COPRODUCTION: d-i-n-a/The Influencers, MMSU Rijeka EQUIPMENT: MMSU Rijeka, Nedžad Tokalić EXECUTIVE PRODUCER: Petra Corva

WITH: Jacob Appelbaum & Ai Weiwei, Zach Blas, James Bridle, Émilie Brout & Maxime Marion, Simon Denny, Jill Magid, Metahaven, Laura Poitras, Evan Roth

PRODUCER'S ASSISTANTS: Borko Novitović, Luka Rodela

CURATORS: Eva & Franco Mattes, Bani Brusadin

DOCUMENTATION: Tanja Kanazir

How did the internet go from the utopian free-for-all, open source heaven, libertarian last frontier to the current state of permanent surveillance, exhibitionism and paranoia?

his duplicity is the underlying thread that links the artists and activists who will participate in The Black Chamber, an exhibition set in Mali salon as a part of Mine, Yours, Ours Festival, organized by Drugo more. The exhibition is curated by The Influencers (&ES&) and produced in partnership with Aksioma (&SI&). Developed through ongoing research on these subjects by internationally renown artist duo Eva & Franco Mattes and researcher and curator Bani Brusadin, The Black Chamber aims at discussing the delicate and often awkward role of art and imagination in the age of mass surveillance, stressing the multiple connections between post-studio art and independent research, grassroots reverse engineering, and new forms of political activism in the age of networks. The Black Chamber exhibition is a selection of some of the most significant works by a generation of artists and activists who devise both technological and social tactics to peek into contemporary phenomena of surveillance and paranoia, including the ambiguity of massive voyeurism and actual systems of corporate or state control over citizens. Operating occasionally at the center, though more often at the periphery, of this huge, mysterious, always slippery, and constantly changing patchwork of forces, we find the post-studio artist as well as the political dissident, the unruly technologist or the unconventional journalist. This passionate tangle of people sets out to suggest alternative and always ephemeral ways of

disseminating information and countering automatic processes of control over bodies and collective fantasies. They know that no existing map can be fully trusted. What is actually at stake is both technology's role in shaping global culture and people’s opportunity for technological, social, and even aesthetical empowerment. Adding the precision of investigative journalists or hackers to the passion of explorers or superusers, the artists and activists invited to The Black Chamber translate problematic histories associated with the governance of the infrastructure and the control over people’s imagination into subtle visual forms.

1. James Bridle

Citizen Ex Flags, 2015—flags, each 152.4 × 91.44 cm; The Drone Shadow—urban intervention, the outline of a drone in a 1:1 scale.

ames Bridle’s Citizen Ex flag series are full scale James Bridle is a British artist and writer based in flags based on data from the Citizen Ex project. Athens, Greece. His artworks have been commissioned “Every time you connect to the internet, you pass by galleries and institutions and exhibited worldwide through time, space, and law,” says Bridle: this infor- and on the internet. His writing on literature, culture, mation is stored and tracked in multiple locations, and and networks has appeared in magazines and newspaused to make decisions about you, and determine your pers including Wired, Domus, Cabinet, The Atlantic, The rights. These decisions are made by people, companies, New Statesman, The Guardian, The Observer, and many countries, and machines, in many countries and legal others, in print and online. He lectures regularly at conjurisdictions. Citizen Ex shows you where those plac- ferences, universities, and other events. His formulation es are, defining a tentatively new form of “algorithmic of the New Aesthetic research project has spurred debate citizenship.” A form of citizenship that is formed at the and creative work across multiple disciplines. speed of light and which is nomadic by nature, yet revealing the nature of an underlying structure of data, http://shorttermmemoryloss.com/ protocols, and rules. The Drone Shadows are a series of installations http://booktwo.org consisting of the outline of an unmanned aerial vehicle (&UAV&), or drone: a 1:1 representation conveying both the physical reality, and the apparent invisibility, of drone aircraft. They have previously appeared in London, Istanbul, Washington DC, Berlin, Sao Paolo, and a host of cities worldwide. The project is open source, and anyone can draw a Drone Shadow based on plans freely downloaded from the internet.

2. Jill Magid

Jill Magid is a North American artist whose performance-based practices are meant to initiate intimate relationships with a number of organizations and structures of authority. She explores the emotional, Article 12 / I Can Burn Your Face: Miranda V, 2008— philosophical, and legal tensions between the individual and “protective” institutions, such as intelligence 7mm neon light, transformers and wires, 25 pieces, dimensions variable; Article 12 / The man was a agencies or the police. To work alongside or within large organizations, Magid makes use of institutionfool, 2007—four color Silkscreen on Reeves BKF paper, 69.9 × 111.8 cm; Article 12 / Hummingbird, al quirks, systemic loopholes that allow her to make contact with people “on the inside.” Her work tends 2007—four color Silkscreen on Reeves BKF paper, 69.9 × 111.8 cm; Article 12 / I pick a life, 2007—four to be characterized by the dynamics of seduction, the color Silkscreen on Reeves BKF paper, 69.9 × 111.8 cm. resulting narratives often taking the form of a love story. Magid’s work has been exhibited at several mun 2005 Jill Magid was commissioned by the Dutch seums and galleries all over the world, including Tate secret service (&AIVD&) to make a work for its new Modern, London; Whitney Museum of American Art, headquarters to help improve its public persona by New York; Berkeley Museum of Art, California; Tate providing “the AIVD with a human face.” So for the Liverpool; the Stedelijk Museum Bureau, Amsterdam; next three years Magid met with willing employees in Yvon Lambert, Paris and New York; Gagosian Gallery, non-descript public places and, since she had been re- New York; and the Security and Intelligence Agency stricted from using any recording equipment, collected of the Netherlands. Some of her works have been insecret service workers’ personal data in handwritten cluded in the collections of the Whitney Museum of notes. Those notes later informed the project Article 12, American Art, Fundación Jumex, and the Walker Art part of which, in spite of being previously reviewed, Center, among others. was immediately censored, its content redacted, and its visibility restricted by the secret service itself. http://www.jillmagid.net/

3. Metahaven Home, 2014—HD video, 6:15 min, Holly Herndon, sirected by: Metahaven, camera: Mat Dryhurst— courtesy of the artists and RVNG Intl.; Fundraising t-shirts for Chelsea Manning, 2015—T-shirt series.

n the age of massive and ubiquitous connection, intimacy, as well as the possibility of real political agency, are paradoxically mediated by “personal” technologies. That is why Edward Snowden’s revelations made apparent government betrayal, but also fundamentally altered our relationship with the network, its devices, and its imagery. Developed in collaboration between singer and artist Holly Herndon and Metahaven, Home heavily relies on a “data veil” made of logos and symbols from Snowden’s leaked documents. As Metahaven said, “WikiLeaks and Snowden used ‘information’ as the raw material for political change, leaving the ball in the court of ‘imagination’ to make the next move.” In 2015 Metahaven designed a “Free Chelsea Manning” T-shirt whose proceeds were entirely given to the Chelsea Manning Support Network. “We’re working on a lot of big issues in my case, which has the potential to become landmark precedent in the American jurisprudence system,” Chelsea Manning said. “Paying the legal bills is the biggest logistical hurdle to that at this point. Ultimately though, keeping me motivated – because sometimes it can get pretty tough emotionally – and ensuring that people haven’t forgotten just how important this case is for our ensuring that our rights are protected in our society, will certainly work toward that end as well.”

Metahaven (&NL&) is a strategic design studio operating at the intersection of communication, aesthetics, and politics. Founded by Vinca Kruk and Daniel van der Velden, Metahaven ingeniously creates odd assemblages into a variety of art forms ranging from installation work to apparel. Their work, both commissioned and self-directed, approaches branding and identity in such a way as to depict contemporary forms of power, in an age where power is especially designed to exclude as many people as possible from its operating system, its code. Their riotous mixture of satirical, conceptualist expressions and folk internet imagery is paired with their interest in collective political and design objects. The dissolution of the societal middle ground institutions and the welfare state has triggered the demise of the politically and socially meaningful role of the designer. “It is with the internet as an amplifier that this perspective can be suddenly liberating,” says Metahaven. The traditional designer’s demise seems now to have sparked a whole new type of research and creation that digs much deeper below the surface of images. http://metahaven.net/

4. Émilie Brout & Maxime Marion Satoshi Nakamoto ( The Proof ), 2014—A4 digital print, A4 electroluminescent sheet, electric transformer, paper double clip.

atoshi Nakamoto is the creator of Bitcoin, a revolutionary and unfalsifiable payment system for performing online transactions anonymously. This virtual currency is widely used on darknets, networks guaranteeing anonymity which have a bad reputation, especially because of the cybercriminal activities they facilitate (&drug trade, counterfeiting, etc.&). From his first public message until his disappearance on December 12, 2010, Nakamoto made every effort to preserve his identity. Émilie Brout & Maxime Marion decided to produce the evidence of the existence of Satoshi Nakamoto using the technology he created.

Since 2008 Émilie Brout & Maxime Marion (&FR&) have been developing an approach based on appropriation. Using collections of documents (&vernacular photography, cinematographic excerpts, dynamic maps…&) that they create or find online, they question the relation we have with images. Exploring the concept of common, they examine in a sensitive way the modalities of production, the means of dissemination, and the history of data inside networks. Their work has been exhibited internationally at the Seongnam Arts Center (&South Korea&), Art Brussels (&Belgium&), Loop Fair (&Spain&), Centre pour l’Image Contemporaine in Geneva and Solo Project in Basel (&Switzerland&), Telecom Italia Future Centre in Venezia (&Italy&), and Palais de Tokyo (&France&), among many others. They have also been awarded with the Arte Laguna Prize 2014 and the Contemporary Talent Prize 2011 of the François Schneider Foundation. http://www.eb-mm.net/

5. Evan Roth n57.680235e11.668160.se ( Internet Landscape: Sweden ), 2016—networked video, 19:49.

ecently commissioned by Masters & Servers, Evan Roth’s new work Internet Landscapes: Sweden is a series of web based artworks that will allow one to experience the internet’s physical, digital and cultural infrastructure as a landscape depicted by an unusual set-up of infra-red photos, radio frequencies scan, and packet data. Visiting the internet physically is an attempt to repair a relationship that has changed dramatically as the internet has become more centralized and monetized, as well as a mechanism for global government spying.

Evan Roth is an American artist based in Paris whose practice visualizes and archives culture through unintended uses of technologies. Creating prints, sculptures, videos, and websites, his work explores the relationship between misuse and empowerment and the effect that philosophies from hacker communities can have when applied to digital and non-digital systems. His work is in the public collections of the Museum of Modern Art, New York, and the Israel Museum, and has been exhibited at the Centre Pompidou, the Kunsthalle Wien and the Tate. He co-founded the arts organizations Graffiti Research Lab and the Free Art & Technology Lab (&F.A.T.&). Awards in recognition of his work include the Golden Nica from Prix Ars Electronica, Rhizome/The New Museum commissions and the Smithsonian’s Cooper-Hewitt National Design Award. http://www.evan-roth.com/

6. Ai Weiwei & Jacob Appelbaum Ai Weiwei & Jacob Appelbaum: Panda-toPanda, 2015—mixed media including shredded classified documents, 45 × 25 × 20 cm. Jacob Appelbaum: Ai Weiwei ( Bejing ), 2015— cibachrome print, 101.6 × 76.2 cm.

anda-to-Panda is a joint project by Chinese artist Ai Weiwei and US hacktivist Jacob Appelbaum, both living in exile as political dissidents because of their activities. Panda-to-Panda appears as nothing but a sweet-looking stuffed panda bear toy, when in fact it is a condensed version of collective resistance strategies adopted by millions of people. In China “panda” is a popular, yet unspoken code word to talk about censorship and bypass it. The pandas are stuffed with shredded US National Security Agency documents that were originally given to film-maker Laura Poitras and investigative journalist Glenn Greenwald three years ago in Hong Kong by the whistleblower Edward Snowden. Yet, Panda-to-Panda is not only about mass surveillance, but also most importantly about secrecy and social technologies such as cryptography or decentralized peer-to-peer networks. Panda-to-Panda is a homage to resistance and invention meant to remind us that while absolute transparency should be for everyone exercising public power, privacy should be for everyone else. Unfortunately, the reality of governments and network corporations reveals that the contrary is actually true.

Ai Weiwei is an artist and activist whose work encompasses sculpture, installation, photography, film, architecture, curation, and social criticism. His art has been featured in major solo exhibitions at venues including the Mori Art Museum, Tate Modern, and the New Museum. He was the recipient of the Václav Havel Prize for Creative Dissent from the Human Rights Foundation in 2012. http://www.aiweiwei.com/

Jacob Appelbaum is an independent computer security researcher and hacker, and core member of the Tor Project. He represented WikiLeaks at the 2010 Hope conference, and, as a confidant of the former NSA contractor Edward Snowden, was among those who gained access to documents for public release during the 2013 global surveillance disclosure.

7. Laura Poitras The Art of Dissent, 2015—video, 10 min.

he Oscar-awarded filmmaker Laura Poitras Laura Poitras (&US/DE&) is a filmmaker, journalist, caught the making of Panda-to-Panda on film and artist. Citizenfour, the third installment of her in The Art of Dissent, a short film that shows the per- post-9/11 Trilogy, won an Academy Award for Best sonal and political empathy and commitment of three Documentary, along with awards from the British Film persons who had to flee their countries and were or still Academy, Independent Spirit Awards, Director’s Guild are targets of indiscriminate and opaque surveillance of America, Cinema Eye Honors, and others. Part one because of their activities. of the trilogy, My Country, My Country, about the U.S. occupation of Iraq, was nominated for an Academy Award. Part two, The Oath, focused on Guantanamo and the war on terror, and was nominated for two Emmy Awards. In 2006 the U.S. government placed her on a secret watch list, and, through 2012, she was detained and interrogated at the U.S. border each time she traveled internationally. To protect her footage from being seized at the U.S. border, she relocated to Berlin in 2012. In 2016 she will have her first solo museum exhibition at the Whitney Museum of American Art, where she will create a new work of immersive installations that build on the themes she has been exploring in her filmmaking. http://www.praxisfilms.org/

8. Simon Denny The Personal Effects of Kim Dotcom, 2013— 110 canvases, each 55 × 80 cm.

imon Denny’s The Personal Effects of Kim Dotcom is a collection of copies, rip-offs, and limitations of the “real” contraband. This forms a tangible focus point for what could be seen as one of the most important legal discussions of the moment, entangled as it is with borders, law, entertainment, and what it means to steal, be supervised, and who owns what.

Simon Denny was born in Auckland in 1982 and is based in Berlin. His work has explored technological obsolescence, the rhetoric of Silicon Valley and tech start-ups, and technology’s role in shaping global culture and constructions of national identity. Combining sculptures, graphics, and moving images, Denny’s complex and layered installations translate often problematic governance technologies into visual form. As a result, his work challenges several themes which are rooted in modern society’s globalized cultures of technology, consumerism, organization, and the dissemination of information. Denny’s solo exhibitions include MoMA PS1, New York (&2015&); Portikus, Frankfurt (&2014&); MuMOK, Vienna (&2013&); Kunstverein Munich, Munich (&2013&); and Aspen Art Museum, Aspen (&2012&). Denny gained critical acclaim with his double installation at the 56th Venice Biennale 2015 in representation of New Zealand.

9. Zach Blas Facial Weaponization Suite: Fag Face Mask, 2012— vacuum formed, painted plastic, 21.5 × 19 × 10.5 cm; Facial Weaponization Communiqué: Fag Face, 2012—HD video, 8:10 min.

he neon pink Fag Face Mask is one of five masks in Zach Blas’ collection, Facial Weaponization Suite. By aggregating biometric facial scans from a multitude of queer men, Blas created a single facial composite, which he manipulated to create something excessive and shapeless. If gaining visibility in network society means contributing to opaque and private database intelligence, or just being subjected to state surveillance, then Fag Face Mask is an example of what Blas calls “queer technologies,” an experimental form of public, grassroots reverse engineering that challenges the notion of technology as objective, especially when it is used as an instrument of automatic control over the people.

Zach Blas is an artist and writer whose work engages technology, queerness, and politics. Currently, he is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London. Blas has exhibited and lectured internationally, most recently at Whitechapel Gallery, London; Institute of Contemporary Arts, London; e-flux, New York; the Institute of Modern Art, Brisbane; Museo Universitario Arte Contemporáneo, Mexico City; Transmediale, Berlin; and the 2014 Dakar Biennial. He has two forthcoming books: Escaping the Face, an artist monograph to be published by Rhizome and Sternberg Press in 2016, and Informatic Opacity: The Art of Defacement in Biometric Times, a theoretical study of biometric facial recognition and refusals of recognition. Blas’ work has been written about and featured in Artforum, frieze, Art Papers, Mousse Magazine, The Atlantic, Al Jazeera America, Wired, and Art Review, in which Hito Steyerl selected him as a 2014 FutureGreat. His current art project Contra-Internet is supported by a 2016 Creative Capital grant in Emerging Fields. http://zachblas.info/

× Curators

va & Franco Mattes are an artist duo originally from Italy, working in New York. Their medium is a combination of internet, video, and performance. Their work explores the ethical and moral issues arising when people interact remotely, especially through social media, creating situations where it is difficult to distinguish reality from a simulation. Mattes’ work has been exhibited at White Chapel Gallery, London (&2016&); Watari Museum, Tokyo (&2015&); Royal Museums of Fine Arts of Belgium (&2015&); Kunst Halle Sankt Gallen, Switzerland (&2014&); the Minneapolis Institute of Arts (&2013&); Site Santa Fe (&2012&); Sundance Film Festival (&2012&); PS1, New York (&2009&); Performa, New York (&2009, 2007&); National Art Museum of China, Beijing (&2008&); The New Museum, New York (&2005&); and Manifesta 4, Frankfurt (&2002&). In 2001 they were among the youngest artists ever included in the Venice Biennale. They have given lectures at universities, museums, and festivals, including Columbia University, New York; RISD, Providence; New York University; Carnegie Mellon, Pittsburgh; College Art Association, New York; Museo Reina Sofia, Madrid; and Musee d’Art Moderne, Paris. They are founders and co-directors of the international festival The Influencers, held annually at the CCCB, Barcelona, Spain (&2004-ongoing&). The Mattes have received grants from the Walker Art Center, Minneapolis; The Museum of Contemporary Art, Roskilde; and ICC, Tokyo. They have been awarded the New York Prize 2006 from the Italian Academy at Columbia University and are currently recipients of the Creative Capital Award. They are faculty members at the MFA Fine Arts and Photography Departments of the School of Visual Arts, New York. Links to many of Mattes’ projects can be found at their web site: http://www.0100101110101101.org/

Bani Brusadin is an independent curator and a researcher sailing on the troubled waters where contemporary art, networked technologies, popular cultures, and politics meet, and often times clash. Since 2004, together with Eva & Franco Mattes, he co-directs The Influencers, a festival about unconventional forms of art and communication held at the Center of Contemporary Culture of Barcelona. In the past he has been involved in different art and activist projects, among them Las Agencias and Yomango (&2002–2007&). Bani currently teaches about digital cultures and social change at the University of Barcelona. He is also a faculty member at the Elisava Design School and a lecturer at the Institute for Advanced Architecture of Catalonia and at IED (&European Institute of Design&) in Barcelona. He holds a PhD in Advanced Studies in Art Production.

WORKSHOP: Tactics and Poetics of Invisibility

of steganography it aims to explore the practical act of evading the digital gaze on one hand and on the other hand explore the poetic and creative potential in forming alternative modes of communication to strengthen community bonds. https://amysuowu.hotglue.me/tpi

Amy Suo Wu is an artist, designer and educator researching how technology, language and media shape people and vice versa. Her research based hybrid actics and Poetics of Invisibility is a workshop on practice is an exploration into how to activate and how to make, apply and activate various kinds of intervene in critical and playful ways. Since 2013 she invisible inks such as milk, lemon juice, starch, baking has been working at the Willem de Kooning Academy soda and saliva. Invisible inks are one of the oldest forms (&Dutch Academy of art and design based in Rotterof steganography, the art and science of hiding in plain dam&) teaching Design Research, Concept and Image sight. In the workshop, you will also learn of its history in the Graphic Design department and the Hacking miand basic theories of invisible ink and steganography. nor to students across all disciplines. In the same year, The workshop is a part of a research into steg- she co-founded Eyesberg, a (&graphic&) design studio anography and how analogue forms of steganography motivated by conceptual and experimental approachcould make up for deficiencies of digital communica- es. She has also facilitated and organized zine making tion and provide a possible solution to more secure workshops and festivals in the Netherlands. communication in the age of pervasive online surveillance. Historically speaking, compared to cryptogra- http://amysuowu.net/ phy which was considered more scientifically sophisticated as it was primarily a mathematical endeavour, steganography was its dark cousin, elusively steeped in alchemy, magic and mystery. Through analogue forms Amy Suo Wu—08 April, 11 am @ OKC Palach

PERFORMANCE: Unveil Nina Boelsums—08 April, 6:30 & 8:30 pm @ Filodrammatica

s a physical metaphor for the invasion of priva- Nina Boelsums (&20&) is an Industrial Design student cy online, “Unveil” is a dress that opens up with and privacy activist. She explores the possibilities of each new cookie stored on a computer. While the wear- programming in art, and the interaction between techer browses the internet, she accumulates more track- nology and society. Her designs are combinations of ers and her body gets more exposed. these subjects. She lives in Amsterdam and studies at In the virtual world, losing privacy can seem like the University of Technology Eindhoven. an abstract and trivial concept. “Unveil” makes the issue physical and exposes the historically most private parts of ourselves: the naked body. It visualizes the reality of privacy violation. It makes no distinction between the online and the ‘real’ world. While the wearer of the dress goes online, a script counts the number of cookies that get stored on the computer, and when this number increases, it is communicated to an Arduino on the back of the dress. With each new cookie, two servo motors spin. They wind up threads that are connected to the slits in the dress, opening them up and exposing the wearer’s skin.

DISCURSIVE PROGRAM

Internet Landscapes Evan Roth—08 April, 5 pm @ Filodrammatica

n Internet Landscapes, Evan Roth will discuss his Evan Roth (&b. 1978&) is an American artist based in work as it relates to visualizing and understanding Paris whose practice visualizes and archives culture the Internet’s physical, digital, and cultural landscapes. through unintended uses of technologies. Creating He will introduce his latest networked video, “Digital prints, sculptures, videos and websites, his work exLandscapes: Sweden,” commissioned by Masters & plores the relationship between misuse and empowServers in 2015, and recount his personal quest to re- erment and the effect that philosophies from hacker connect with an Internet that has changed significant- communities can have when applied to digital and ly since he first went online in the 1990s. non-digital systems. His work is in the public collections of the Museum of Modern Art, New York, and the Israel Museum. Recent exhibitions include the 2016 Biennale of Sydney; Electronic Superhighway (&2016-1966&) at Whitechapel Gallery, London; and This Is for Everyone at the Museum of Modern Art, New York. Roth co-founded the arts organizations Graffiti Research Lab and the Free Art and Technology Lab and in 2016 was a recipient of Creative Capital funding. http://www.evan-roth.com/

Beyond the Paradigm of Technologies of Control Tomislav Medak—08 April, 7 pm @ Filodrammatica

ver the last decade the tenor of debates over digital networks has radically shifted. The technological systems that once seemed as inherently emancipatory, allowing everyone to speak to and mobilize the broadest of publics, creating a foundation for a global public sphere, with the growing consequences of centralization of communication services, commodification of content and dataveillance has retained a very different cast. We're all caught in the dragnet of algorithmic governance controlled by commercial operators and surveillance state. Our existence as data points limits our agency as liberal subjects in a democratic context. Predictive analytics based on electronic tracking and breadcrumbs have found their application beyond commerce, and together with the deployment of UAVs, have transformed the foundations of warfare. In short, capitalism has caught up with the internet. The military-industrial complex was never far. Accordingly, our political heroes today are those who blew the lid on this world of surveillance: Chelsea Manning, Julian Assange and Edward Snowden. Critical media culture is obsessed with the fantasy of control, where only the tech-savvy escape its spell. The spooks, the hackers and the anons. And yet this fantasy of technological world is deeply dis-empowering and elitist. After discussing these developments, in my talk I'll focus on a completely different project altogether – Public Library – trying to analyse what resources and strategies do we have available to continue to draw on emancipatory fantasy of technologies.

Tomislav Medak is a philosopher with interests in contemporary political philosophy, media theory and aesthetics. Together with his coleagues, he's running the theory program and publishing activities of the Multimedia Institute/MAMA (&Zagreb&). He's a free software and free culture advocate, and one of the people working on various facets of Memory of the World/ Public Library project. He is author and performer with the Zagreb based theatre collective BADco.

Black Box, Black Chamber

James Bridleâ&#x20AC;&#x201D;08 April, 9 pm @ Filodrammatica

urveillance today is pervasive but invisible, inspiring generalised anxiety in those who think about it, and dissociative resignation in those who donâ&#x20AC;&#x2122;t. In this it feels much like the Cold War used to do, and Climate Change increasingly does. What can we learn from the associations between these global afflictions? What forms of agency and knowing are possible within their complex networks, and what role does art have to play in approaching them? 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. http://shorttermmemoryloss.com/ http://booktwo.org

Real and imaginary Black Chambers. A brief introduction to invisibility, paranoia, surveillance and the Internet. Bani Brusadinâ&#x20AC;&#x201D;09 April, 6 pm @ Filodrammatica

he Black Chamber exhibition project (&including Bani Brusadin is an independent curator and a rea conference and an upcoming digital catalogue&) searcher sailing on the troubled waters where contemis the starting point for a discussion of the delicate and porary art, networked technologies, popular cultures, often awkward role of art in the age of mass surveillance, and politics meet, and often times clash. Since 2004, stressing the multiple connections between post-studio together with Eva & Franco Mattes, he co-directs art and independent research, grassroots reverse engi- The Influencers, a festival about unconventional forms of art and communication held at the Center neering, and new forms of political activism. of Contemporary Culture of Barcelona. In the past he has been involved in different art and activist projects, among them Las Agencias and Yomango (&2002â&#x20AC;&#x201C;2007&). Bani currently teaches about digital cultures and social change at the University of Barcelona. He is also a faculty member at the Elisava Design School and a lecturer at the Institute for Advanced Architecture of Catalonia and at IED (&European Institute of Design&) in Barcelona. He holds a PhD in Advanced Studies in Art Production.

The Panopticon: Resistance is Not Futile

Annie Machon was an intelligence officer for the UK's Security Service, MI5, in the 1990s, before resigning to help blow the whistle on the crimes and incompetence of the British spy agencies. She is now a writer, media commentator, political campaigner, and international Annie Machon—09 April, 8 pm @ Filodrammatica public speaker on a variety of related issues: the war on terrorism, the war on whistleblowers, the war on drugs, rivacy was enshrined as a fundamental human and the war on the internet. right in the Universal Declaration in 1948. But She is currently the European director of LEAP since the evolution of the world wide web it has never (&www.leap.cc&) and Co-Director of Code Red (&www. been under greater threat, with panoptic spy surveil- codered.is&), as well as a member of the Sam Adams lance and corporate vigilantes stalking the internet. Associates (&http://samadamsaward.ch/&). As a former MI5 intelligence officer-turned-whisAnnie has an MA (&Hons&) Classics from Camtleblower, Annie Machon has experienced every side bridge University. She is the author of Spies, Lies and of this issue. Today she emphasizes the value of privacy Whistleblowers: MI5 and the David Shayler Affair. and puts out a call to the tech industry, declaring that “the tech community is our last line of defence” against http://anniemachon.ch/ global security surveillance. During her talk, she will explore the problems, effects and possible solutions to https://twitter.com/anniemachon today’s Panopticon.

https://about.me/anniemachon

IMPRESSUM Production: Drugo more, Aksioma – Institute for Contemporary Art, Ljubljana

Supported by: European Commission program Creative Europe, National Foundation for Civil Society Development, Kultura nova Foundation, Croatian Goverment Office for Cooperation with NGO's, Ministry of culture of the Republic of Croatia, City of Rijeka – Department for culture

Concept: Davor Mišković

Program is realized as part of Mastes & Servers a joint project by Aksioma (&SI&), Drugo more (&HR&), AND (&UK&), Link Art Centre (&IT&) i d-i-n/The Influencers (&ES&).

Exhibition curators: Eva & Franco Mattes, Bani Brusadin

Association of organisations Molekula manages Palach, Filodrammatica and Marganovo.

Production: Petra Corva, Ivana Katić, Dubravko Matanić

This publication is made possible by financial support of the National Foundation for Civil Society Development. The contents of this publication are the sole responsibility of the author and do not necessarily express the postition of the National Foundation.

Coproduction: d-i-n-a/Influencers, MMSU Rijeka

Production Assistants: Borko Novitović, Luka Rodela Public Relations: Dubravko Matanić Documentation: Tanja Kanazir Graphic Design: Oleg Šuran Publisher: Drugo more Editor: Dubravko Matanić Translation: Dubravko Matanić Print: Tiskara Zelina Print Run: 300 copies

This publication is printed wih the financial supportof the “Kultura nova” Foundation. Opinions expressed herein reflect solely those of the authors and do not necessarily represent the opnions of te “Kultura nova” Foundation. This project is financed by the Croatian Government Office for Cooperation wtih NGO's. The views expressed in this publication are the sole responsibility of Drugo more. This project has been funded with support from the European Commission. This communication reflects the views only of the author, and the Comission cannot be held responsible for any use which may be made of the information contained therein.

Četvrtak, 07. 04.

20.00

Crna komora

otvaranje izložbe

♦

Petak, 08. 04.

11.00

AMY SOU WU

Taktike i poetike nevidljivosti

RADIONICA NEVIDLJIVE TINTE

♥

17.00

EVAN ROTH

Internetski krajolici

PREZENTACIJA

♣

18.30

NINA BOELSUMS

Unveil

PERFORMANS + DISKUSIJA

♣

19.00

TOMISLAV MEDAK

Prevazići paradigmu tehnologija kontrole

PREZENTACIJA + DISKUSIJA

♣

21.00

JAMES BRIDLE

Crna kutija, crna komora

PREZENTACIJA + DISKUSIJA

♣

Stvarne i imaginarne Crne komore – kratki uvod u nevidljivost, paranoju, nadzor i internet

PREZENTACIJA + DISKUSIJA

♣

Panoptikon: otpor nije uzaludan

PREZENTACIJA + DISKUSIJA

♣

PARTY

♣

Subota, 09. 04.

18.00

BANI BRUSADIN

22.00 ANNIE MACHON 22.00

♦ F ♥ ♣

Mali salon, Korzo 24, Rijeka OKC Palach, Kružna 8, Rijeka Filodrammatica, Korzo 28⁄1F, Rijeka

vogodišnje izdanje manifestacije Moje, Snapshot, itd.) koji nas osvjetljuje i omogutvoje, naše bavi se nadzorom kao jed- ćava pogled s tornja (tajnih službi, internet nim od važnijih problema suvremenog doba. providera, Googlea, državnih službi, itd.) na Određena vrsta nadzora prisutna je u svim ci- našu ćeliju. Privatnost se postiže postavljavilizacijama i uvijek je u funkciji otklanjanja njem zavjesa na prozorima. Država nam je devijacija, usmjeravanja populacije u smjeru jamčila da prema tornju smijemo postaviti funkcionalnog ponašanja, što god bilo defi- neprozirne zavjese, ali sve su glasniji zahtjevi nirano kao funkcionalno ponašanje. Onaj da ih razmaknemo. Ukoliko ih razmaknemo, tko nadzire uvijek je poziciji moći, ne samo a želimo očuvati privatnost, to znači da zavjeu smislu definiranja prihvatljivog ponašanja, se moramo postaviti prema vanjskom svijetu nego i u smislu prikrivanja vlastitih devija- kako bi onemogućili prodor svjetlosti i tako cija. Zbog toga smo svi nepovjerljivi prema izbjegli stalnom pogledu. Tako je naša ovogonadzornicima, čak i ako prihvatimo njihovu dišnja tema zapravo vrlo jednostavno pitanje definiciju prihvatljivog. u kompleksnoj arhitekturi nadzora – kako S druge strane, kakav god nadzor bio, zamračiti sobu. ljudi su uvijek pronalazili prostor za devijaciju, subverzivno djelovanje, ali i prostor da nad- — Davor Mišković gledaju samog nadzornika. U suvremenom svijetu stvari se nisu bitno promijenile, osim što smo se približili organizacijskom modelu panoptičkog nadzora. Bentham je još u 18. stoljeću postavio prostornu sliku tog sustava: na rubu zgrada prstenastog oblika, u središtu toranj. Na zidovima tornja otvori su širokih prozora koji gledaju na unutrašnju stranu prstena, rubna zgrada podijeljena je na ćelije od kojih svaka ima dva prozora, jedan okrenut prema tornju, a drugi okrenut na vanjsku stranu da bi dopustio prolaz svjetlosti s jednog kraja ćelije na drugi. Zahvaljujući prodoru svjetla s tornja mogu se promatrati sjene zatočene u ćelijama. Zatočenici su tako stalno vidljivi, što i jest glavni učinak Panoptikona. Nadzor postaje neprestan u svojim posljedicama, bez obzira koliko se realno provodio. Bentham je postavio temeljno načelo da moć mora biti vidljiva i neprovjerljiva. Vidljiva – zatočeniku je stalno pred očima toranj s kojeg ga se promatra, neprovjerljiva – zatočenik nikad ne zna ako ga netko uistinu gleda, ali je siguran da se to uvijek može dogoditi. Kada ovu prostornu sliku preselimo na internet dobijemo vanjski prozor (e-mail, Facebook, Instagram, Twitter,

IZLOŽBA: CRNAKOMORA otvorenje: 7. travnja 2016. u 20 sati IZLOŽBA JE OTVORENA DO: 30. 04. 2016. Mali salon, Korzo 24, Rijeka Radno vrijeme: utorak – subota 11–20 sati / nedjelja 11–13 i 17–20 sati SUDJELUJU: Jacob Appelbaum i Ai Weiwei, Zach Blas, James Bridle, Émilie Brout i Maxime Marion, Simon Denny, Jill Magid, Metahaven, Laura Poitras, Evan Roth KUSTOSI: Eva i Franco Mattes, Bani Brusadin

PRODUKCIJA: Drugo more, Aksioma – zavod za sodobne umetnosti, Ljubljana KOPRODUKCIJA: d-i-n-a/The Influencers, MMSU Rijeka TEHNIKA: MMSU Rijeka, Nedžad Tokalić PRODUCENTICA: Petra Corva ASISTENTI PRODUCENTA: Borko Novitović, Luka Rodela DOKUMENTACIJA: Tanja Kanazir

Kako se je internet od utopijskog, svima besplatnog, otvorenog raja i posljednje granične tvrđave slobodarstva preobrazio u trenutno stanje neprestanog nadzora, ekshibicionizma i paranoje?

va je dvojnost osnovna nit koja povezuje umjetni- fantazijama, dobro znajući kako nijednoj postojećoj zeke i aktiviste čije radove, u okviru jedanaestog iz- mljopisnoj karti nije moguće u potpunosti vjerovati. danja festivala Moje, tvoje, naše, predstavljamo na izložNa kocku je tako zapravo stavljena uloga tehnobi “Crna komora” u Malom salonu u Rijeci. Izložba je logije u oblikovanju globalne kulture, kao i prilika za nastala u produkciji Drugog mora i ljubljanske Aksiome. tehnološko, društveno pa čak i estetsko osnaživanje Osmišljena uslijed istraživačkog rada kojeg ne- ljudi. S preciznošću istraživačkih novinara ili hakera te prekidno provodi međunarodno priznati umjetnički strašću istraživača ili najpredanijih korisnika, umjetdvojac Eva i Franco Mattes zajedno s istraživačem i nici i aktivisti koji sudjeluju u “Crnoj komori” prevode kustosom Banijem Brusadinom, izložba “Crna komo- problematične povijesti – povezane s infrastrukturnim ra” stremi prema poticanju rasprave o delikatnoj i če- upravljanjem i nadzorom nad ljudskom maštom – u sto neugodnoj ulozi umjetnosti i mašte u eri masovnog suptilne vizualne forme. nadzora, pri čemu se naglasak stavlja na mnogostruke poveznice između poststudijske umjetnosti i nezavisnih istraživanja, aktivističkog obrnutog inženjerstva i novih oblika političkog aktivizma u dobu mreža. Izložba “Crna komora” okuplja neke od najznačajnijih radova generacije umjetnika i aktivista koji osmišljavaju tehnološke i društvene taktike kako bi zavirili u suvremene fenomene nadzora i paranoje, uključujući dvoznačnost masovnog voajerizma i postojećih sustava korporativne ili državne kontrole nad građanima. Ponekad na centru, iako češće na periferiji tog ogromnog, tajnovitog, uvijek skliskog i neprestano mijenjajućeg kolaža sila, nalazimo poststudijske umjetnike, kao i političke disidente, neukrotljive tehnologe ili nekonvencionalne novinare. Ova, strašću obuzeta, mješavina ljudi nastoji predlagati alternativne i uvijek kratkotrajne načine širenja informacija i djelovati protiv automatskih procesa nadzora nad tijelima i kolektivnim

1. James Bridle

Citizen Ex Flags, 2015—zastave, svaka 152.4 × 91.44 cm; The Drone Shadow—urbana intervencija, obris bespilotne letjelice u omjeru 1:1.

erija Citizen Ex ("Državljanin iks") Jamesa Bridlea James Bridle je britanski umjetnik i pisac koji tresastoji se od zastava u prirodnoj veličini, koje se nutno živi i radi u Ateni. Njegova djela naručuju gatemelje na podacima projekta Citizen Ex. “Svaki put lerije i institucije, a izlaže ih po cijelome svijetu i na kada se spojiš na internet, prolaziš kroz vrijeme, pro- internetu. Njegovi tekstovi o književnosti, kulturi i stor i zakon”, kaže Bridle. Podaci se pohranjuju i bilježe mrežama objavljivani su u časopisima i listovima među na više lokacija, a koriste se u svrhu donošenja odluka o kojima su Wired, Domus, Cabinet, Atlantic, New Statebi i određivanju tvojih prava. Te odluke donose ljudi, tesman, Guardian, Observer i mnogi drugi. Redovito tvrtke, države i strojevi, u mnogim zemljama i pod ra- predaje na konferencijama, sveučilištima i drugim zličitim sudskim nadležnostima. Citizen Ex pokazuje događajima, a njegova je formulacija istraživačkog koja su to mjesta, oblikujući proizvoljnu novu formu projekta Nova estetika potaknula rasprave i nastanak “algoritamskog državljanstva” – državljanstvo koje se kreativnih radova u području raznih disciplina. formira brzinom svjetlosti i koje je po prirodi nomadsko, istovremeno otkrivajući narav temeljne strukture http://shorttermmemoryloss.com/ podataka, protokola i pravila. The Drone Shadows ("Sjene dronova") je serija in- http://booktwo.org stalacija koja se sastoji od obrisa bespilotne letjelice, ili drona: reprezentacija u omjeru 1:1 koja istovremeno oslikava fizičku realnost i očiglednu nevidljivost bespilotnih letjelica. Instalacije su prethodno bile postavljene u Londonu, Istanbulu, Washingtonu, Berlinu, Sao Paolu i drugim gradovima diljem svijeta. Projekt je open source i svatko može nacrtati sjenu drona po uzoru na planove koji se mogu slobodno preuzeti s interneta.

2. Jill Magid

Jill Magid je američka umjetnica koja svojim praksama temeljenima na performansu želi pobuditi intimne odnose s raznim organizacijama i strukturama vlasti. Istražuje emocionalne, filozofske i pravne napetosti među individualnim i “zaštitničkim” institucijama, Article 12 / I Can Burn Your Face: Miranda V, 2008— 7mm neonska svjetla, transformatori i žice, 25 kao što su obavještajne službe ili policija. Za rad s velikomada, razne dimenzije; Article 12 / The man was a kim institucijama, ili unutar njih, Magid koristi institufool, 2007—četverobojni otisak na Reeves BKF papiru, cionalne dosjetke i rupe u sustavu koje joj omogućuju 69.9 × 111.8 cm; Article 12 / Hummingbird, 2007— ostvarivanje kontakta s ljudima “iznutra”. Njezin je rad četverobojni otisak na Reeves BKF papiru, 69.9 × 111.8 označen dinamikom zavođenja, a naracije koje nastaju cm; Article 12 / I pick a life, 2007—četverobojni često preuzimaju formu ljubavne priče. Magid je svoje radove izlagala u nekoliko muzeja otisak na Reeves BKF papiru, 69.9 × 111.8 cm. i galerija diljem svijeta, uključujući Tate Modern u Lon005. godine Jill Magid je od nizozemske tajne donu, Whitney Museum of American Art u New Yorku, službe ()AIVD)) dobila narudžbu za izradu umjet- Berkeley Museum of Art u Kaliforniji, Tate Liverpool, ničkog djela, koje je trebalo biti postavljeno u novu Stedelijk Museum Bureau u Amsterdamu, Yvon Lamzgradu glavnog zapovjedništva, kako bi se u javnosti bert u Parizu i New Yorku, Gagosian Gallery u New Yorstvorila pozitivna slika “AIVD-a s ljudskim licem”. Ti- ku i u nizozemskoj sigurnosno-obavještajnoj agenciji. jekom iduće tri godine, Magid se na neistaknutim mje- Neka od njezinih djela uključena su, među ostalim, u stima sastajala sa zaposlenicima koji su na to pristajali, zbirke institucija kao što su Whitney Museum of Amea s obzirom da nije smjela koristiti opremu za snimanje, rican Art, Fundación Jumex, i Walker Art Center. osobne podatke o radnicima tajne službe zapisivala je rukom. Iz tih je bilješki kasnije nastao projekt Article 12 http://www.jillmagid.net/ ("Članak 12"), kojeg je tajna služba cenzurirala odmah nakon pregleda, preuredivši njegov sadržaj i zacrnivši “problematične” dijelove.

3. Metahaven Home, 2014—HD video, 6:15 min, Holly Herndon, autor: Metahaven, kamera: Mat Dryhurst—vlasništvo umjetnika i RVNG Intl.; Fundraising t-shirts for Chelsea Manning, 2015—serija kratkih majica.

doba masovne i sveprisutne povezanosti, intimnost se, na isti način kao i mogućnost stvarnog političkog djelovanja, paradoksalno posreduje “osobnim” tehnologijama. Upravo su iz tog razloga otkrivenja Edwarda Snowdena obznanila očiglednu izdaju vlasti, ali su također fundamentalno promijenila naš odnos prema mreži, njezinim uređajima i njezinim prikazom. Nastao u suradnji pjevačice i umjetnice Holly Herndon i kolektivom Metahaven, projekt Home ("Dom") se snažno oslanja na “podatkovni veo” koji se sastoji od logotipa i simbola iz dokumenata koje je Snowden razotkrio. Prema riječima Metahavena, “Wikileaks i Snowden su koristili ‘informacije’ kao sirovinu za političku promjenu, ostavljajući ‘mašti’ da napravi idući potez”. 2015. godine, kolektiv Metahaven dizajnirao je majice pod motom “Free Chelsea Manning”, a sav zarađeni novac od njihove prodaje u potpunosti je namijenjen grupi potpore Chelsea Manning. “Bavimo se mnogim velikim problemima u vezi mojeg slučaja, koji ima potencijal postati presedan i novi orijentir u američkom pravnom sustavu”, izjavila je Chelsea Manning. “Pritom je plaćanje sudskih računa dosad predstavljalo najveću prepreku tome. Ipak, u konačnici, održavanjem moje motivacije na razini – s obzirom da je ponekad doista teško u emocionalnom smislu – i brigom da ljudi ne zaborave koliko je važan ovaj slučaj u osiguravanju i zaštiti naših prava, također neupitno pridonosi ostvarenju tog cilja”.

Metahaven ()Nizozemska)) je strateški dizajnerski studio koji djeluje na razmeđi komunikacija, estetike i politike. Osnovan od strane Vince Kruk i Daniela van der Veldena, Metahaven se bavi domišljatim preuređivanjem neobičnih zbirki u raznovrsne umjetničke oblike, od instalacija do odjeće. Njihov rad pristupa pitanjima “brendiranja” i identiteta na način da nastoji prikazati suvremene oblike moći u dobu kada se moć ostvaruje upravo kako bi isključila što veći mogući broj ljudi iz svojeg operacijskog sustava, svojeg koda. Njihova buntovnička mješavina satiričnih i konceptualističkih izraza te ljudskih predodžbi o internetu spaja se s njihovim zanimanjem za kolektivne političke i dizajnerske objekte. Rastakanje socijalne države i raspad institucija koje se brinu za društvenu ravnopravnost, uzrok su propasti politički i društveno značajne uloge dizajnera. “Uz pomoć interneta kao pojačivača, ova perspektiva može odjednom postati oslobađajuća”, kaže Metahaven. Čini se kako je smrt tradicionalnog dizajnera potaknula potpuno novi tip istraživanja i stvaranja, koji zadire mnogo dublje ispod površine slika. http://metahaven.net/

4. Émilie Brout & Maxime Marion Satoshi Nakamoto ( The Proof ), 2014—A4 digitalni tisak, A4 elektroluminiscentna stranica, električni transformator, hvataljka za papir.

atoshi Nakamoto je tvorac Bitcoina, revolucio- Od 2008. godine, Émile Brout i Maxime Marion narnog sustava plaćanja za anonimne mrežne tran- ()Francuska)) razvijaju pristup koji se temelji na prisvajasakcije. Ova virtualna valuta u velikoj se mjeri koristi na nju, a koristeći zbirke dokumenata ()svakodnevnih fotodarknetima, mrežama koje garantiraju anonimnost i na grafija, kinematografskih isječaka, dinamičnih mapa…)) lošem su glasu ponajprije zbog kibernetičkog kriminala koje stvaraju sami ili ih pronalaze na mreži, propituju kojeg omogućuju ()trgovina drogom, krivotvorenje itd.)). naše odnose sa slikama. Istražujući koncept zajedničOd svoje prve javne poruke do nestanka 12. prosinca kog, na osjetljiv način proučavaju modalitete proizvod2010. godine, Nakamoto je učinio sve da sakrije svoj nje, načine širenja i povijest podataka unutar mreža. identitet. Émilie Brout i Maxime Marion odlučili su Njihovi radovi izlagani su u više zemalja, među ostalim potražiti dokaze o postojanju Satoshija Nakamota, ko- u Seognam Arts Center ()Južna Koreja)), Art Brussels risteći tehnologiju koju je proizveo. ()Belgija)), Loop Fair ()Španjolska)), Centre pour l’Image Contemporaine u Ženevi i Solo Project u Baselu ()Švicarska)), Telecom Italia Future Centre u Veneciji ()Italija)), i Palais de Tokyo ()Francuska)). 2014. godine primili su nagradu Arte Laguna Prize, a 2011. nagradu Contemporary Talent Prize fondacije François Schneider. http://www.eb-mm.net/

5. Evan Roth n57.680235e11.668160.se ( Internet Landscape: Sweden ), 2016—video na mreži, 19:49.

nternetski krajolici: Švedska, novi rad Evana Rotha kojeg je nedavno osmislio u okviru projekta Masters & Servers, serija je mrežnih umjetničkih djela koja gledateljima omogućuju da iskuse fizičku, digitalnu i kulturnu infrastrukturu interneta kao krajolika oslikanog pomoću neobičnog postava sastavljenog od infracrvenih fotografija, radijskih frekvencija i podatkovnih paketa. Fizički obilazak interneta pokušaj je popravljanja odnosa koji se dramatično promijenio kako se internet sve više centralizirao, monetizirao i postajao mehanizmom za globalno špijuniranje. Evan Roth je američki umjetnik koji djeluje u Parizu i koji u svojem radu vizualizira i arhivira kulturu pomoću nenamjenske upotrebe tehnologije. Izrađujući tiskane natpise, skulpture, videa i web stranice, Roth istražuje odnose između zloupotrebe i osnaživanja, kao i učinke koje filozofije proizašle iz hakerskih zajednica mogu imati u primjeni na digitalne i nedigitalne sustave. Njegov je rad uključen u stalnu zbirku Muzeja moderne umjetnosti u New Yorku i Izraelskog muzeja, a izlagao je između ostalog u Centre Pompideu, Kunsthalle Wien i Tate. Suosnivač je organizacija Graffiti Research Lab i Free Art & Technology Lab ()F.A.T.)). Primio je mnoge nagrade za svoj rad, među kojima su Golden Nica Prix Ars Electronice, Rhizome/The New Museum i nagrada Smithsonian's Cooper-Hewitt National Design Award. http://www.evan-roth.com/

6. Ai Weiwei & Jacob Appelbaum Ai Weiwei i Jacob Appelbaum: Panda-to-Panda, 2015—različiti mediji, uključujući isjeckane povjerljive dokumente, 45 × 25 × 20 cm. Jacob Appelbaum: Ai Weiwei ( Bejing ), 2015— otisak u cibachrome tehnici, 101.6 × 76.2 cm.

Ai Weiwei je kineski umjetnik i aktivist, čiji rad obuhvaća kiparstvo, instalacije, fotografiju, film, arhitekturu, kustoski rad i društvenu kritiku. Njegova su djela bila predstavljena na velikim samostalnim izložbama u muzejima kao što su Mori Art Museum, Tate Modern i New Museum. 2012. godine primio je od Human Rights Foundation nagradu Václav Havel za kreativni otpor.

anda-to-Panda ("Panda pandi") je zajednički projekt kineskog umjetnika Ai Weiweija i hak- http://www.aiweiwei.com/ tivista Jacoba Appelbauma, koji žive u egzilu kao politički disidenti. Jacob Appelbaum ()SAD/Njemačka)) je neovisni proPanda pandi izgleda kao slatka plišana igračka, no učavatelj računalne sigurnosti i haker, te ključni član zapravo se radi o kondenziranoj verziji strategija kolek- projekta Tor. Na konferenciji HOPE 2010. godine predtivnog otpora, prihvaćenih od strane milijuna ljudi. U stavljao je WikiLeaks, a kao bliski povjerenik nekadašKini je “panda” popularna, ali neizgovarana, kodna riječ njeg službenika američke agencije za nacionalnu sigurza razgovor o cenzuri i načinima kako je zaobići. Pande nost NSA Edwarda Snowdena, bio je među rijetkima su napunjene izrezanim dokumentima američke naci- koji su imali pristup povjerljivim dokumentima koji onalne obavještajne službe NSA koje je zviždač Edward su u okviru raskrinkavanja globalnog nadzora javno Snowden izvorno dao filmskoj autorici Lauri Poitras i objavljeni 2013. godine. istraživačkom novinaru Glennu Greenwaldu prije tri godine u Hong Kongu. Ipak, Panda pandi ne tematizira samo masovni nadzor, već prije svega tajnost i društvene tehnologije kao što su kriptografija ili decentralizirane peer-to-peer mreže. Panda pandi je posveta otporu i invenciji, koja nas nastoji podsjetiti kako bi se potpuna transparentnost trebala ticati svih koji sudjeluju u provođenju javne moći, dok bi privatnost trebala biti na raspolaganju svima ostalima. U stvarnosti, nažalost, vlade i korporacije koje upravljaju mrežama pokazuju kako je na snazi upravo suprotna situacija.

7. Laura Poitras The Art of Dissent, 2015—video, 10 min.

skarom nagrađena filmska autorica Laura Po- Laura Poitras ()SAD/Njemačka)) je filmska autorica, itras kamerom je zabilježila stvaranje projekta novinarka i umjetnica. Citizenfour, treći dio njezine triPanda pandi u kratkom filmu The Art of Dissent ("Umjet- logije o događanjima nakon 11. rujna, dobio je Oskara za nost neslaganja"), koji prikazuje osobnu i političku em- najbolji dokumentarni film te nagrade britanske filmske patiju i predanost triju osoba koje su morale pobjeći iz akademije, Independent Spirit, američkog udruženja svojih zemalja, te su zbog svojih aktivnosti bile, ili još redatelja, Cinema Eye Honors i druge. Prvi dio, My Couvijek jesu, metama neprestanog i prikrivenog nadzora. untry, My Country, o američkoj okupaciji Iraka, bio je nominiran za Oskara, dok je drugi dio, The Oath, koji se bavio Guantanamom i ratom protiv terorizma, bio nominiran za dvije nagrade Emmy. 2006. godine američka ju je vlada uvrstila na tajnu listu osoba koje je potrebno nadzirati, te je do 2012. godine zadržavana radi ispitivanja na američkoj granici svaki put kada je putovala izvan zemlje. Kako bi zaštitila snimke od zapljene na američkoj granici, 2012. godine preselila se u Berlin. Ove godine imat će prvu samostalnu muzejsku izložbu u Whitney Museum of American Art, gdje će predstaviti nove interaktivne instalacije koje se nadovezuju na teme koje je istraživala u svojim filmovima. http://www.praxisfilms.org/

8. Simon Denny The Personal Effects of Kim Dotcom, 2013—110 platna, svako 55 × 80 cm.

he Personal Effects of Kim Dotcom ("Osobni predmeti Kima Dotcoma") Simona Dennyja je zbirka kopija, krivotvorina i imitacija “stvarnih” krijumčarenih predmeta. Time se tvori opipljiva središnja točka za vjerojatno jednu od trenutno najvažnijih pravnih rasprava, u kojoj se prepliću granice, zakon, zabava i pitanja o tome što znači krasti, biti nadziran i posjedovati nešto.

Simon Denny je rođen u Aucklandu ()Novi Zeland)) 1982. godine, a trenutno živi i radi u Berlinu. U svojem radu istražuje tehnološko zastarijevanje, retoriku Silicijske doline i tehnološke start-upove, kao i ulogu tehnologije u oblikovanju globalne kulture i konstrukciji nacionalnog identiteta. Kombiniranjem kiparstva, grafike i pokretnih slika, Dennyjeve kompleksne i slojevite instalacije pretvaraju često problematične tehnologije upravljanja u vizualne oblike. Njegovo djelo na taj način propituje nekoliko tema koje su ukorijenjene u globalizirane kulture tehnologije, konzumerizma, organizacije i širenja informacija modernoga društva. Među Dennyjeve samostalne izložbe spadaju MoMA PS1, New York ()2015)); Portikus, Frankfurt ()2014)); MuMOK, Beč ()2013)); Kunstverein Munich, München ()2013)); i Aspen Art Museum, Aspen ()2012)). Priznanje kritike dobio je na temelju dvoje instalacije na Bečkom bienalu 2015, gdje je predstavljao Novi Zeland.

9. Zach Blas Facial Weaponization Suite: Fag Face Mask, 2012—vakumski oblikovana, obojana plastika, 21.5 × 19 × 10.5 cm; Facial Weaponization Communiqué: Fag Face, 2012—HD video, 8:10 min.

eonsko-roza Fag Face Mask ("Pederska maska") jedna je od pet maski iz zbirke Zacka Blasa, nazvane Facial Weaponization Suite ("Oruđe za pretvaranje lica u oružje"). Spajanjem biometričkih fotografija lica velikog broja queer muškaraca, Blas je dobio jedno mješovito lice koje je potom oblikovao na način da bude ekscesno i bezlično. Ukoliko je za potrebe ostvarivanja vidljivosti u umreženom društvu potrebno dospijevati u nepreglednu bazu podataka, ili se naprosto podvrgnuti državnom nadzoru, tada je Pederska maska primjer onoga što Blas naziva “queer tehnologijom”, eksperimentalnim oblikom javnog, aktivističkog obrnutog inženjerstva koje se opire poimanju tehnologije kao nečeg objektivnog, pogotovo kada se koristi kao instrument automatiziranog nadzora nad ljudima.

Zach Blas je umjetnik i pisac koji se u svojem radu bavi tehnologijom, queer temama i politikom. Trenutno predaje na Odsjeku za vizualne kulture na Goldsmithsu ()Sveučilište u Londonu)). Izlagao je radove i održavao predavanja u više zemalja, nedavno u galeriji Whitechapel u Londonu, na institutu za suvremenu umjetnost u Londonu, na e-flux u New Yorku, na institutu za modernu umjetnost u Brisbaneu, u Museo Universitario Arte Contemporáneo u Mexico Cityju, na festivalu Transmediale u Berlinu i na bienalu Dakar 2014. godine. Uskoro će biti objavljene dvije njegove knjige: Escaping the Face, umjetnička monografija koju će ove godine izdati Rhizome i Sternberg Press, te Informatic Opacity: The Art of Defacement in Biometric Times, teorijska studija o biometrijskom prepoznavanju lica i odbijanju prepoznavanja. Blasovo djelo je predstavljeno i o njemu se pisalo u publikacijama kao što su Artforum, Frieze, Art Papers, Mousse Magazine, The Atlantic, Al Jazeera America, Wired i Art Review, u kojem ga je Hito Steyerl odabrao za “velikana budućnosti”. Njegov trenutni umjentički projekt, Contra-Internet, podržan je stipendijom Creative Capital in Emerging Fields za 2016. godinu. http://zachblas.info/

× Kustosi

va i Franco Mattes umjetnički su dvojac iz Italije, a trenutno djeluju u New Yorku. Njihov medij izražavanja je kombinacija interneta, videa i performansa. U svojem radu istražuju etička i moralna pitanja koja se javljaju kada ljudi komuniciraju na daljinu, pogotovo korištenjem društvenih medija, ostvarujući situacije u kojima je teško razlučiti stvarnost od simulacije. Radove su izlagali u institucijama i na događajima kao što su White Chapel Gallery u Londonu ()2016)), Watari Museum u Tokiju ()2015)), Royal Museums of Fine Arts u Belgiji ()2015)), Kunst Halle Sankt Gallen u Švicarskoj ()2014)), Minneapolis Institute of Arts ()2013)), Site Santa Fe ()2012)), Sundance Film Festival ()2012)), PS1 u New Yorku ()2009)), Performa u New Yorku ()2009, 2007)), National Art Museum of China u Pekingu ()2008)), The New Museum u New Yorku ()2005)) i Manifesta 4 u Frankfurtu ()2002)). 2001. godine našli su se među najmlađim umjetnicima koji su ikada sudjelovali na Bečkom bienalu. Održavaju predavanja na sveučilištima, festivalima i u muzejima, među kojima su Columbia University u New Yorku, RISD u Providenceu, New York University, Carnegie Mellon u Pittsburghu, College Art Association u New Yorku, Museo Reina Sofia u Madridu i Musee d’Art Moderne u Parizu. Osnivači su i suupravitelji međunarodnog festivala The Influencers koji se od 2003. jednom godišnje održava u multidisciplinarnom kulturnom centru CCCB u Barceloni. Primatelji su stipendija na Walker Art Center u Minneapolisu, Museum of Contemporary Art u Roskildeu i ICC u Tokiju. 2006. godine primili su nagradu New York Prize od Talijanske akademije na Sveučilištu Colombia, a ove godine dobitnici su nagrade Creative Capital Award. Članovi su učiteljskog zbora na diplomskom studiju likovnih umjetnosti i fotografije na School of Visual Arts u New Yorku. Više o njihovim projektima može se pronaći na internetskoj stranici: http://www.0100101110101101.org/

Bani Brusadin je nezavisni kustos i istraživač koji plovi nemirnim morima na sjecištu suvremene umjetnosti, mrežnih tehnologija, popularnih kultura i politike. Od 2004. godine zajedno s Evom i Francom Mattesom upravlja festivalom The Influencers, namijenjenom nekonvencionalnim umjetničkim formama i komunikaciji, koji se održava u Centru za suvremenu kulturu ()CCCB)) u Barceloni. Sudjelovao je u raznim umjetničkim i aktivističkim projektima, među kojima su Los Agencias i Yomango ()2002.–2007.)), a trenutno predaje o digitalnim kulturama i društvenoj promjeni na Sveučilištu u Barceloni. Također je član kolegija na Elsava Design School te predavač na Institute for Advanced Architecture of Catatlonia i IED ()European Institute of Design)) u Barceloni. Ima doktorat iz naprednih studija u umjetničkoj produkciji.

RADIONICA: Taktike i poetike nevidljivosti

vanja digitalnog pogleda, a s druge poetički i kreativni potencijal u formiranju alternativnih modaliteta komunikacije radi osnaživanja veza unutar zajednica. https://amysuowu.hotglue.me/tpi

Amy Suo Wu—08. 04., u 11 h @ OKC Palach

aktike i poetike nevidljivosti je radionica o tome kako napraviti, primijeniti i aktivirati različite vrste nevidljivih tinti, kao što su one izrađene od mlijeka, limunovog soka, škroba, praška za pecivo i sline. Nevidljive tinte su neke od najstarijih oblika steganografije, umjetnosti i nauke o pisanju skrivenih poruka. Polaznici radionice će također moći saznati nešto više o povijesti i osnovnoj teoriji nevidljive tinte i steganografije. Radionica je dio istraživanja o steganografiji i načinima na koje analogne forme steganografije mogu nadvladati nedostatke digitalne komunikacije i pružiti moguće rješenje za sigurniju komunikaciju u razdoblju sveprisutnog nadzora na mreži. Povijesno gledano, u usporedbi s kriptografijom koja se smatra znanstvenijom i sofisticiranijom s obzirom da je u prvom redu bila pokušaj proizašao iz polja matematike, steganografija je njezin mračni rođak, uronjen u alkemiju, magiju i misteriju. Kroz analogne forme steganografije, radionica s jedne strane nastoji istražiti praktične radnje izbjega-

Amy Suo Wu je umjetnica, dizajnerica i edukatorica, koja istražuje utjecaj tehnologije, jezika i medija na oblikovanje ljudi, i obrnuto. Njezin hibridna praksa temelji se na istraživanju i pokušaj je pronalaženja kritičkih i razigranih načina za aktiviranje i sudjelovanje. Od 2013. godine radi na akademiji Willem de Kooning ()nizozemska Akademija umjetnosti i dizajna sa sjedištem u Rotterdamu)), podučavajući istraživanje dizajna, koncept i sliku na Odsjeku za grafički dizajn. Iste godine sudjelovala je u osnivanju studija za ()grafički)) dizajn Eyesberg, koji kreće od konceptualnih i eksperimentalnih pristupa. Također pokreće i organizira festivale i radionice izrade fanzina u Nizozemskoj. http://amysuowu.net/

PERFORMANS: Unveil Nina Boelsums—08. 04., u 18:30 i 20:30 h @ Filodrammatica

ao fizička metafora za invaziju na privatnost na internetu, “Unveil” je haljina koja se rastvara sa svakom pohranom novog kolačića na računalu. Pretraživanjem interneta nositeljica haljine gomila sve više tragača ()eng. tracker)), a njezino se tijelo sve više razotkriva. Dok se u virtualnom svijetu gubitak privatnosti može činiti kao apstraktni i trivijalni koncept, “Unveil” otjelovljuje taj problem i razotkriva naše povijesno najprivatnije dijelove: golo tijelo. Time se vizualizira stvarnost povrede privatnosti, pri čemu se ne čini razlika između svijeta na internetu i ‘stvarnog’ svijeta. Za vrijeme njezinog boravka na internetu, programski kod broji kolačiće koji se pohranjuju na računalu, pri čemu se podaci o porastu njihovog broja prenose na Arduino koji se nalazi na stražnjoj strani haljine. Dva ugrađena servo motora okreću se prilikom pojave svakog novog kolačića, navijaju niti kojima su povezani prorezi haljine i time razotkrivaju umjetničinu golu kožu.

Nina Boelsums ()20)) je studentica industrijskog dizajna na University of Technology Eindhoven i aktivistkinja koja se zalaže za pravo na privatnost. Prilikom dizajniranja svojih kreacija, istražuje mogućnosti programiranja u umjetnosti te interakciju između tehnologije i društva. Živi u Amsterdamu.

DISKURZIVNI PROGRAM

Internetski krajolici Evan Roth—08. 04., u 17 h @ Filodrammatica

Internetskim krajolicima, Evan Roth će raspravljati o svojem radu i njegovim poveznicama s vizualizacijom i razumijevanjem fizičkih, digitalnih i kulturnih krajolika interneta. Također će predstaviti svoj mrežni video uradak, Internet Landscapes: Sweden, kojeg je 2015. godine osmislio u okviru projekta Masters & Servers, te se osvrnuti na vlastiti izazov ponovnog povezivanja s internetom koji se značajno izmijenio otkad se 1990-ih godina prvi puta spojio na mrežu.

Evan Roth je američki umjetnik koji djeluje u Parizu i koji u svojem radu vizualizira i arhivira kulturu pomoću nenamjenske upotrebe tehnologije. Izrađujući tiskane natpise, skulpture, videa i web stranice, Roth istražuje odnose između zloupotrebe i osnaživanja, kao i učinke koje filozofije proizašle iz hakerskih zajednica mogu imati u primjeni na digitalne i nedigitalne sustave. Njegov je rad uključen u stalnu zbirku Muzeja moderne umjetnosti u New Yorku i Izraelskog muzeja, a izlagao je između ostalog u Centre Pompideu, Kunsthalle Wien i Tate. Suosnivač je organizacija Graffiti Research Lab i Free Art & Technology Lab ()F.A.T.)). Primio je mnoge nagrade za svoj rad, među kojima su Golden Nica Prix Ars Electronice, Rhizome/The New Museum i nagrada Smithsonian's Cooper-Hewitt National Design Award. http://www.evan-roth.com/

Prevazići paradigmu tehnologija kontrole Tomislav Medak—08. 04., u 19 h @ Filodrammatica

roteklo desetljeće osnovni ton rasprava o digitalnim mrežama radikalno se promijenio. Tehnološki sistemi još su se nedavno činili inherentno emancipatorskima, jer su nosili obećanje da svatko može adresirati i mobilizirati najširu moguću javnost, stvarajući time osnove za globalnu javnu sferu. Uslijed sve veće centralizacije komunikacijskih servisa, komercijalizacije sadržaja i nadzora prikupljanjem podataka oni su poprimili suprotan predznak. Svi smo sada uhvaćeni u mrežu algoritamskog upravljanja društvom pod kontrolom komercijalnih operatora i države nadzora. Naša egzistencija kao podatkovne točke ograničava našu moć djelovanja kao liberalnih subjekata u demokratskom kontekstu. Predviđajuća analitika koja se zasniva na praćenju elektroničkih tragova našla je primjenu i izvan trgovine te zajedno s bespilotnim letjelicama transformira same osnove ratovanja. Ukratko, kapitalizam se dokopao interneta. A vojno-industrijski kompleks ionako nikada nije bio daleko. U skladu s time, naši su politički heroji oni koji su raskrinkali ovaj svijet nadzora: Chelsea Manning, Julian Assange i Edward Snowden. Kritička medijska kultura je opsjednuta fantazijom kontrole u kojoj samo oni tehnički vješti mogu umaći njenom prokletstvu – špijuni, hakeri, anonymousi. Međutim, takva fantazija o tehnološkom svijetu duboko je de-emancipirajuća i elitistička. Nakon rasprave o ovim procesima, u svom govoru usredotočit ću se na posve drugačiji projekt – Javna knjižnica – pokušavajući analizirati kakve resurse i strategije još uvijek imamo dostupne da ustrajemo na emancipatornoj fantaziji o tehnologiji.

Tomislav Medak je filozof s interesima za suvremenu političku filozofiju, medijsku teoriju i estetiku. Zajedno s nekolicinom kolega vodi teorijski program i izdavačke aktivnosti Multimedijalnog instituta/MAMA u Zagrebu. Zagovornik je slobodnog softvera i slobodne kulture te jedan od nekolicine ljudi koji rade na pojedinim segmentima projekta Memory of the World/ Public Library. Također je autor i izvođač sa zagrebačkim kazališnim kolektivom BADco.

Crna kutija, crna komora

James Bridle—08. 04., u 21 h @ Filodrammatica

adzor je danas sve-prožimajući, ali nevidljiv. Kod ljudi koji o njemu razmišljaju javlja se opća tjeskoba, kod onih koji ne – disocijativna rezigniranost. To nekako podsjeća na atmosferu koja je vladala tijekom Hladnog rata i koja je trenutno sve prisutnija u kontekstu promišljanja o klimatskim promjenama. Što možemo naučiti iz asocijacija koje se javljaju između navedenih globalnih nevolja? Koji su oblici djelovanja i znanja mogući unutar njihovih složenih mreža? Kako umjetnost može do njih doprijeti? James Bridle je britanski umjetnik i pisac koji trenutno živi i radi u Ateni. Njegova djela naručuju galerije i institucije, a izlaže ih po cijelome svijetu i na internetu. Njegovi tekstovi o književnosti, kulturi i mrežama objavljivani su u časopisima i listovima među kojima su Wired, Domus, Cabinet, Atlantic, New Statesman, Guardian, Observer i mnogi drugi. Redovito predaje na konferencijama, sveučilištima i drugim događajima, a njegova je formulacija istraživačkog projekta Nova estetika potaknula rasprave i nastanak kreativnih radova u području raznih disciplina. http://shorttermmemoryloss.com/ http://booktwo.org

Stvarne i imaginarne Crne komore – kratki uvod u nevidljivost, paranoju, nadzor i internet Bani Brusadin—09. 04., u 18 h @ Filodrammatica

zložbeni projekt The Black Chamber / Crna komora, koji uključuje konferenciju i nadolazeći digitalni katalog, polazna je točka za raspravu o delikatnoj i često neugodnoj ulozi umjetnosti u razdoblju u eri masovnog nadzora, pri čemu se naglasak stavlja na mnogostruke poveznice između poststudijske umjetnosti i nezavisnih istraživanja, aktivističkog obrnutog inženjerstva i novih oblika političkog aktivizma.

Bani Brusadin je nezavisni kustos i istraživač koji plovi nemirnim morima na sjecištu suvremene umjetnosti, mrežnih tehnologija, popularnih kultura i politike. Od 2004. godine zajedno s Evom i Francom Mattesom upravlja festivalom The Influencers, nemijenjen nekonvencionalnim umjetničkim formama i komunikaciji, koji se održava u Centru za suvremenu kulturu ()CCCB)) u Barceloni. Sudjelovao je u raznim umjetničkim i aktivističkim projektima, među kojima su Los Agencias i Yomango ()2002.–2007.)), a trenutno predaje o digitalnim kuturama i društvenoj promjeni na Sveučilištu u Barceloni. Također je član kolegija na Elsava Design School te predavač na Institute for Advanced Architecture of Catatlonia i IED ()European Institute of Design)) u Barceloni. Ima doktorat iz naprednih studija u umjetničkoj produkciji.

Panoptikon: otpor nije uzaludan

Annie Machon 1990-ih je godina radila za britansku sigurnosnu službu MI5, prije nego što je dala ostavku kako bi doprinijela raskrinkavanju zločina i nekompetencije britanskih špijunskih agencija. Trenutno se bavi pisanjem, komentiranjem u medijima, političkim aktivizmom i međunarodnim javnim predavanjima na temu rata protiv terorizma, zviždača, droge i interneta. Voditeljica je europskog ogranka međunarodne neprofitne organizacije LEAP koja javno progovara o neuspjesima postojećih političkih odnosa prema pitanjima droge i s njima povezanih problema ovisnosti, kriminala i terorizma ()www.leap.cc)). Jedna je od upravitelja inicijative Code Red ()https://codered.is/)) koja se bavi formiranjem globalnog pokreta za borbu protiv nadzora. Članica je odbora Sam Adams Associates for Integrity in Intelligence koji godišnju nagradu Sam Adams dodjeljuje službenicima obavještajnih službi Annie Machon—09. 04., u 20 h @ Filodrammatica koji se, neovisno o posljedicama, zalažu za visoke moOpćoj deklaraciji o pravima čovjeka iz 1948. go- ralne i etičke standarde u svojem radu. dine, privatnost je uzdignuta kao osnovno ljudDiplomirala je na Sveučilištu Cambridge i autosko pravo. No, razvoj world wide weba ozbiljno je zapri- rica je knjige Spies, Lies and Whistleblowers: MI5 and jetio toj vrednoti panoptičkim i špijunskim nadzorom the David Shayler Affair. te korporacijskim vrebačima po bespućima interneta. Kao nekadašnja službenica britanske kontrao- http://anniemachon.ch/ bavještajne službe MI5 koja se potom prometnula u zviždačicu, Annie Machon je iskusila obje strane ovog https://twitter.com/anniemachon pitanja, a u svojoj će se prezentaciji dotaknuti problema, posljedica i mogućih rješenja u vezi Panoptikona današ- https://about.me/anniemachon njice. S naglaskom na važnost koju bi privatnost trebala posjedovati, u svojem obraćanju industriji tehnologije Machon proglašava kako je “tech zajednica naša posljednja linija obrane” protiv globalnog sigurnosnog nadzora.

IMPRESSUM Produkcija: Drugo more, Aksioma – zavod za sodobne umetnosti, Ljubljana Koprodukcija: d-i-n-a/The Influencers, MMSU Rijeka Koncepcija programa: Davor Mišković Kustosi izložbe: Eva i Franco Mattes, Bani Brusadin Produkcija: Petra Corva, Ivana Katić, Dubravko Matanić Asistenti producenta: Borko Novitović, Luka Rodela Odnosi s javnošću: Dubravko Matanić Dokumentacija: Tanja Kanazir Grafičko oblikovanje: Oleg Šuran Izdavač: Drugo more Urednik kataloga: Dubravko Matanić Prijevodi: Dubravko Matanić Tisak: Tiskara Zelina Naklada: 300 primjeraka

Program su podržali: Program Europske komisije Kreativna Europa, Nacionalna zaklada za razvoj civilnog društva, Zaklada Kultura nova, Ured za udruge Vlade RH, Ministarstvo kulture Republike Hrvatske, Grad Rijeka – Odjel za kulturu Program je realiziran u okviru Masters & Servers suradničkog projekta Aksiome ()SI)), Drugog mora ()HR)), AND-a ()UK)), Link Art Centra ()IT)) i d-i-n-a /The Influencers-a ()ES)) Prostorima Palacha, Filodrammatice i Marganova upravlja Savez udruga Molekula Tiskanje ove publikacije omogućeno je financijskom podrškom Nacionalne zaklade za razvoj civilnog društva. Sadržaj ove publikacije isključiva je odgovornost autora i nužno ne izražava stajalište Nacionalne Zaklade. Ova publikacija je tiskana uz financijsku podršku Zaklade “Kultura nova”. Mišljenja izražena u ovoj publikaciji odražavaju isključivo mišljenja autora i ne izražavaju nužno stajalište Zaklade “Kultura nova”. Ovaj projekt sufinancira Ured za udruge Vlade RH. Stajališta izražena u ovoj publikaciji isključiva su odgovornost Drugog mora. Ovaj projekt je financiran uz potporu Europske komisije. Sadržaj ove komunikacije isključiva je odgovornost autora i ni na koji način ne predstavlja stavove Europske komisije.