Tuesday, September 15, 2015

Weltweite Überwachung und Zensur

ZKM | Center for Art and Media

GLOBALE: GLOBAL CONTROL AND CENSORSHIP

Weltweite Überwachung und Zensur

Begin Sat, 03.10.2015
End Sun, 01.05.2016
Type of exhibitionThematic exhibition
VenueZKM_Atrium 1 + 2
CostMuseum admission

Description

The opening of the exhibition takes place on Sat, October 3, 2015 at 7:30 pm in front of the museum in Atrium 3 – with a performance by Holly Herndon at about 10 pm.

Knowledge is power. And power is possessed especially by whoever controls the flow of information. This applies particularly in digital culture, where all the information in the World Wide Web can be manipulated, uncontrolled. For a long time, a hope for new forms of democratic participation arose from the use of these digital instruments, but recently they have been misused as the ideal door opener for the surveillance of billions of people. Democratic states have long reserved the right to spy even on their »friends«, in all military, economic, and social aspects, and on all levels: governments, organizations, NGOs, and individual citizens are all under surveillance.
Besides mass analysis of communications metadata and massive access to personal data, there is increasingly open or clandestine censorship through manipulation or shutting down. Where the fear of this threat has no effect, the secrecy of important information is enforced, with methods ranging from hindering publication to kidnapping and assassinating journalists. Being at the mercy of overwhelmingly powerful authorities of control and censorship has become the conditio humana of our time. Today a large part of the public has already resigned in the face of a ubiquitous state and commercial surveillance.
This exhibition is based on the collaboration with a network of scientists, journalists, activists, and artists in some twenty countries around the world, and in cooperation with expert organizations such as the German PEN Center, the Chaos Computer Club, Reporters Without Borders, and such platforms as netzpolitik. org, digitalcourage.de, WikiLeaks, and others. The exhibition’s aim is to expand public debate about the ever-present surveillance and censorship methods, which is an urgent priority not only due to constant new reports in the media, but especially because of the extensive obstruction of the investigation of these practices.

Credits

Bernhard Serexhe (Curator)
Lívia Rózsás (Co-Curator)

Contributors

Organization / Institution

ZKM | Karlsruhe

Partners

Arbeitsgruppe Netzpolitik, Institut für Politische Wissenschaft an der Ruprecht-Karls-Universität Heidelberg (Dr. Wolf J. Schünemann und Eike Petersen)
Entropia e.V. Ettlingen – Chaos Computer Club Karlsruhe (Alex Wenger)
Kompetenzzentrum für angewandte Sicherheitstechnologie (KASTEL) am Karlsruher Institut für Technologie (KIT) (Prof. Dr. Jörn Müller Quade & Dirk Achenbach, Bernhard Löwe, Jeremias Mechler, Matthias Nagel, Marc Nemes, Ferdinand Sauer)
Kunsthochschule für Medien Köln (Julia Scher, Christian Sievers)
Reporter ohne Grenzen (Christian Mihr, Clara Schneider)

twinsburg-twins-day

http://www.hungertv.com/feature/twinsburg-twins-day/

004_Walter_David

Speaker’s Corner

I’ve never really been drawn to anything typically ‘pretty’, inoffensive or easy on the eye when it comes to photography, cinema or art in general. It’s always been difficult to get across what I mean by that without sounding like an asshole. But it’s something I’ve become clearer on in the last couple of years by discovering what I’m really into. So I guess now is my opportunity to get it out of my head.
While I can appreciate the work of artists, photographers and filmmakers that focus on the classically pretty (a photo of a beautiful woman in a beautiful landscape, who isn’t going to like that?), we’ve become accustomed to imagery in advertisements and magazines that’s just a little bit ‘safe’. As a result, I now seek out the complete opposite; the uncanny, the dark and subtly bizarre as a release from the aforementioned imagery so frequently featured.
I remember first becoming interested in photographs upon purchasing my first French Vogue on holiday with my parents when I was about 13 years old. I was completely captivated by the tall Caucasian beauties posing in ethereal landscapes and I remember experiencing conflicting emotions. I loved to look at these waiflike beauties, yet I couldn’t help feeling a little disheartened when comparing my awkward teenage self to what was all so perfect and unattainable.
Fast-forward about five years, I discover the work of Cindy Sherman, Martin Parr, William Eggleston, Bill Owens, Nan Goldin, Philip Lorca Dicorcia and Gregory Crewdson. These artists single-handedly changed the way I look at photography. They took photographs of the mundane, of everyday life, yet there was something about them that I couldn’t tear my eyes from.
It was a moment of intense realisation that turned the ‘pretty’ imagery I had witnessed for the last five years to something vacuous in comparison to Lorca Dicoricia’s male prostitutes, Cindy Sherman’s clowns, or Nan Goldin’s beaten up, purple face. I was captivated by the way these images made me feel. It takes something extra-special to create an intense feeling within your audience from what should be a pretty ordinary photograph. A Crewdson image of man in his living room watching TV isn’t really showing anything revolutionary or sinister, but still has more depth and stirs a hell of a lot more inside me than a anything I’ve ever seen in a fashion editorial.
These photographers all share a narrative quality in their work often verging on the cinematic. Film inspires me more so than anything else. When I first discovered the movies I love, I noticed a pattern in my appreciation of them. It was never the blockbuster action films, instead it was the odd ones that dealt with relatable, surrealistic dark tales of suburban ordinary life.
I remember the first time I saw a David Lynch movie, perhaps one of the most obvious examples of directors that managed to turn the typical view of quaint picket fence environments on their head by urging a more skeptical take on the mundane suburban experience. Blue Velvet, Mulholland Drive and Twin Peaks, all set in such environments, consistently merge twisted dream-like sequences with dark subject matter. These connotations were revolutionary to me and sparked a new trend in the filmmaking I sought out. I no longer looked to cookie cutter perfection and the typically ‘pretty’ as inspiration for my work, or myself. We have a universal taste for voyeurism (I especially), manifested in our innate curiosity for what occurs behind closed doors. This concept is drawn from the films I’ve watched, the imagery I’m drawn to, and now features heavily in the photographs I take of others and of myself.
Movies such as John Waters’s Pink Flamingos, Kubrick’s The Shining, Tarantino, Larry Clark’s Kids, Buffalo 66, Edward Scissorhands, Kenneth Anger’s Scorpio Rising, all have twisted visuals set in relatively normal environments. This is the sort of thing that captivates me and I think will continue to do so.
One of my most notable movie experiences was the first time I laid eyes on Harmony Korine’s Gummo; a glorious example of the underbelly of American society, set in a mundane tornado-blasted town with exquisitely weird and wonderful characters whose problems I could empathise with greatly. Gummo is a faultless example of taking something so mundane and creating a beautiful twisted fucking masterpiece of white trash suffering that altered my perception of art. Even if this movie appears abrasive there are moments of tenderness and real social importance amongst the discordant sequences.
I owe it to these filmmakers and directors for getting inside my head and showing me that it is, in fact, the trivial rather than exceptional moments that shape our identities and resonate within us all.
Follow Nadia on Instagram: @NadiaLeeLee

Hunger TV

Hans Feurer

Poster for Chesterfield Stockings 1975StylingMelka Treanton

“Fashion has always fascinated me and I’ve always tried to understand the dream behind the images – and these photographs are kind of dream projections, you know? Of what one could be, of where one’s desires might lead you.”
He’s one of the leading figures in fashion photography, with a a career that spans fifty years and this week Hans Feurer comes to London. Born in Switzerland in 1939 and famous for his shot of 1960s London, the 1970s Nova campaign and revolutionary Kenzo campaigns from the 80s, Feurer’s work is renowned for its cinematic colours, minimal retouching and sensual depiction of the female form.
But it was travel that first ignited his passion. In 1966 Feurer quit his job to instead travel across Africa – a trip that marked a turning point in his life. It was here that the burgeoning photographer first discovered his sensibility for light and the natural world, and upon returning to London in the late sixties, he took what he had learnt and poured it into photography.

He continued to evolve and push boundaries and in the 80s collaborated with designer Kenzo Takada on an era-defining campaign featuring supermodel Iman. Subverting traditional safe campaigns the pioneering work changed fashion advertising from then on, with Feurer’s forward thinking global approach being adopted by those that followed in his path.
“I don’t do sterile, formal pictures”, Feurer describes his process of capturing that elusive moment. “I like to make pictures that provoke an emotion and affect you in your feelings. For that, both the woman and the clothes need to come alive.”

Exposure opens on September 16 and runs until September 26 at Mead Carney Fine Art, 45 Dover Street, W1S 4FF London

Hunger...

Sara S @ Carl's Jr

https://www.youtube.com/watch?v=JcjlMNMK5nA

http://supermodels-online.com/models/sara-sampaio/videos/2015/carlsjr.htm

Style Fashion Beauty

SUPERMODELS-ONLINE.COM

SARA SAMPAIO

Most Delicious Carl's Jr Girl Ever

SARA SAMPAIOCarl's Jr. | Thickburger El Diablo "Too Hot To Handle" Commercial

Over the past Summers Carl's Jr has launch mouth watering commercials with some of the sexiest bombshells. This season they chose the most delicious Carl's Jr girl ever, supermodel Sara Sampaio !

Sara flaunts her way in a sizzling red bikini through Norport Ice Hotel, melting ice with every move as she kicks back as bites down on the El Diablo burger.Mar 25 2015