ness of the Orwellian principle of the control society on one side and the attack from 9/11, have led to the almost unthinking consequences: video surveillance has become normal and now belongs to the infrastructure of the city, rather like street-lights, traffic-lights or zebra crossings. More important than the TV-level of Big Brother was the parallel running of its internet version. The phenomenon has lot to do with the Webcam culture, thus with real time cameras, which are connected to the internet. The television version has actually been neglected, because it showed mostly a summary of the highlights of the last 24 hours. The event structure does not correspond to the structure of the monitoring. Surveillance, monitoring is more than just an event, and that is the fascinating part of it – it is the emptiness, free time, empty duration, and the time between events. Rhetoric of Surveillance devoted to the growing presence of control mechanisms in our every-day world. The video surveillance repre sents huge debt in our rights. And the law also permits citizens to find out where, who records what personal information. Instead of feeling secure, the fact that we can be watched anywhere leaves an impression of insecurity, fear, pessimism or indifference. Do we know whether we are being “purely“ observed, or actually recorded? Do we know how long the images are stored, who is “behind the camera“, or what the information will be subsequently used for? After September 11th, it was expected that the category of the Reality Show suddenly would not have the same attraction as before the attacks - as if the trauma of the exploding World Trade Center would have changed the fascination of such real time images. Real time images are however a form of monitoring images and a monitoring is often, but also not always, real time transmission. Thus this <strong>Biennial</strong> shapes the question: how do different forms of the monitoring transform our everyday culture? It looks for the vocabulary, in order to understand this development critically. The other problem is one of the monitoring and “invisible” data control. Precisely this “invisibility“ is the problem. All that what one traditionally understands under monitoring and closed circuit television - the images – that “visible” part is failing in the data control. It concerns also, how far one can be controlled in some completely banal daily activities, such as by usage of cash points, credit cards, mobile phones, etc. All these activities produce a quantity of data which, as soon as they are put together, are forming an art of one’s portrait, an art of “datashadow”. In this way one is simply reduced to their movements, purchases, data shade tear. As a topic in art, monitoring has been occurring for at least forty years. The question about the readability of a video image, a real time picture, or a close circuit loop, was virulent already in the sixties for the pioneers like Andy Warhol, Dan Graham, Bruce Nauman. Viewing this topic broader, it could be also seen as a problem of realism. Why are we fascinated by observing the images of surveillance cams, even if those are primitive and simple, compared with productions of the Hollywood studios? It is not a coincidence that this fascination arises in the moment when the digitalization changed the status of the photographed space and the cinematic space and questions it as a reproduction of reality. The indication character of the images is lost. Does a photo today really show what it maintains to show? At the same time we have the phenomenon of the real time. That is a structure, which only apparently promises a direct transmission of that what is really happening. This conception stands diametrically contrary to the possibilities of the today’s digital technology. Monitoring and data protection are current political topics EU-wide. If you give us your data, then we offer the most diverse forms of comfort to you. The rhetoric of comfort is a brilliant chess manoeuvre, in order to receive these data, for which a market exists. The <strong>Biennial</strong> of Young Artists explores the wide range of practices that today constitutes the extensive arsenal of social control. However, taking its cue from the central role in the genealogy of surveillance played by an architectural model, the focus is on the complex relationships between design and power, between representation and subjectivity, between archives and oppression. If a drawing could become the pattern for a whole social system of power in the 18th-century, to what comparatively does that system change [if at all] along with shifts in dominant representational practices? What happens, in other words, when we rethink the panopticon in terms of new infrared, thermal or satellite imaging practices? Indeed, what are the sociological and political consequences of a surveillant culture based progressively on completely non-phenomenal logics of data capturing and accumulation? In its investigation of the surveillance practices in their relationship to changing logics of representation, the <strong>Biennial</strong> offers a state of the art summary, based on a full range of panopticism - video works, paintings, photography, installations etc. 31
HERMAN ASSELBERGHS 32
- Page 3: October 8th - November 7th, 2010 Ș
- Page 6 and 7: FOREWORD ROMELO PERVOLOVICI - DIREC
- Page 8 and 9: în mare parte dimensiunii scopice
- Page 10 and 11: vigilant blindness, through this ki
- Page 12 and 13: simultan ambele roluri - el devine
- Page 14 and 15: of his own subjection.” 4 The gaz
- Page 16 and 17: scenarizare a realului şi felul î
- Page 18 and 19: senzorială globală a subiectului.
- Page 20 and 21: eification of watching. watching th
- Page 22 and 23: Deleuze was saying that, considerin
- Page 24 and 25: încercat să le explice vizitatori
- Page 26 and 27: THE SUBVERSIVE PANOPTICON OF THE CO
- Page 28 and 29: “LaBour discipLine”. damaging t
- Page 30 and 31: internet. Fenomenul este corelat cu
- Page 34 and 35: “Altogether” (2008) DVD, mini D
- Page 36 and 37: “Miliţia e cu noi!” (1981) C-t
- Page 38 and 39: Decupaj de temporalitate suspendat
- Page 40 and 41: & M AT H I A S j U D “War Room”
- Page 42 and 43: În 2002, Peter Weibel organiza la
- Page 44 and 45: “Broken Threads” (2007) video,
- Page 46 and 47: I S T O B E D O N E ? ) legătura d
- Page 48 and 49: cu sfârşitul unei tranziţii impo
- Page 50 and 51: At the same time, the very existenc
- Page 52 and 53: social recipe to be applied at the
- Page 54 and 55: the chance to bring this knowledge
- Page 56 and 57: “CCTeVezi” (2008) C-type print,
- Page 58 and 59: 25 April 2008 I have arrived in Lon
- Page 60 and 61: altui instrument de observaţie la
- Page 62 and 63: “Untitled”, 2005 (the former St
- Page 64 and 65: V L A D N A N C ă Orice manual ban
- Page 66 and 67: “The Pencil Sharpener”, from th
- Page 68 and 69: My work deals with the common misus
- Page 70 and 71: NEÏL BELOUfA & DORIAN GAUDIN Pe 2
- Page 72 and 73: & S Z I L A R D B A N G A 71
- Page 74 and 75: Prezentată pentru prima oară la g
- Page 76 and 77: “Le charme discret de l’autorit
- Page 78 and 79: “Boutique Airports I & II” (200
- Page 80 and 81: Alexandra Croitoru’s works presen
- Page 82 and 83:
“Remake” (2007) animation, 24
- Page 84 and 85:
„Populist project / Hometown Boys
- Page 86 and 87:
P A S C U A L S I S T O “Gaze”
- Page 88 and 89:
S T E f A N O G I U R I A T I Lucra
- Page 90 and 91:
“Animal Inside” (2009) 4 photo
- Page 92 and 93:
Ideea că pictura ca gen artistic e
- Page 95 and 96:
T H E O L I G T H A R T “The Sear
- Page 97 and 98:
M A X I M L I U L C A Demersul meu
- Page 99 and 100:
“Serial Guard” (2008) 6 pieces,
- Page 101 and 102:
N 5 5 “Walking 100 house” house
- Page 103 and 104:
MIRCEA NICOLAE “Surveillance pane
- Page 105 and 106:
THE BLUE NOSES GROUP În seria „A
- Page 107 and 108:
G O R D A N S A V I C I C Aş dori
- Page 109 and 110:
GHEORGHE RASOVSZKy
- Page 111 and 112:
LENA VON LAPSCHINA De peste doi ani
- Page 113 and 114:
S I M O N A Tă N ă S E S C U „B
- Page 115 and 116:
S U R E K H A Line of Control Este
- Page 117 and 118:
U B E R M O R G E N . C O M 116 “
- Page 119 and 120:
S H A D I H A B I B A L L A H “Sc
- Page 121 and 122:
C A R L A C R U z Carla Cruz a cres
- Page 123 and 124:
D E S I R E M A C H I N E Colaborar
- Page 125 and 126:
C H E L S E A K N I G H T Palimpses
- Page 127 and 128:
GAYLAN ABDULLAH ISMAIL ”Traffic
- Page 129 and 130:
j I N S H A N Aşa cum observa Walt
- Page 131 and 132:
M I R K O S M E R D E L “Outside
- Page 133 and 134:
O L I V E R R E S S L E R ”What i
- Page 135 and 136:
M A R I E V O I G N I E R În peisa
- Page 137 and 138:
FILM pROf. UNIV. DR. LAURENŢIU DAM
- Page 139 and 140:
TUDOR LUCACIU TUDOR PETREMARIN 138
- Page 141 and 142:
FOTOjURNALISM
- Page 143 and 144:
142 ANDREI PUNGOVSCHI IOANA MOLDOVA
- Page 145 and 146:
ALDO GIANNOTTI Born in Genova, Ital
- Page 147 and 148:
Slovenia; Tourists Welcome, Ljublja
- Page 149:
VLAD NANCă Born in Bucharest, Roma