Video installation of Traces of Exile on show at the International Center of Photography Museum from Jan. 27 to May 7, 2017, part of the group exhibition Perpetual Revolution: The Image and Social Change.
New York, NY 10012
About Traces of Exile:
The ongoing crises in the Middle East have uprooted millions of people, yet new technology allows them to keep connected to their home communities and loved ones in unprecedented ways. The smartphone has become the essential travel companion of the 21st century refugee. Apps help migrants navigate through unfamiliar lands, stay in touch with their family and friends, contact smugglers, and even document their daily lives with selfies and posts to Instagram.
How does a refugee’s life in exile differ from his or her presence online? How does their portrayal of themselves differ from how they are depicted in the Western media?
Inspired by an Augmented Reality app that layers the smartphone camera view with nearby social media posts, this project reveals the digital traces of refugees that have been geo-tagged to a specific place, capturing the intersection of their online identities and places of exile.
About Perpetual Revolution: The Image and Social Change:
Organized by ICP Curators Carol Squiers and Cynthia Young, Assistant Curators Susan Carlson and Claartje van Dijk, along with adjunct curators Joanna Lehan and Kalia Brooks with assistance from Akshay Bhoan and Quito Ziegler, Perpetual Revolution: The Image and Social Change continues ICP’s long-standing tradition of exploring the social and historic impact of visual culture.
Today, viewers are barraged by seemingly endless streams of new kinds of media images on an unprecedented scale. Perpetual Revolution explores the relation between the overwhelming image world that confronts us, and the volatile, provocative, and often-violent social world it mirrors.
This exhibition proposes that an ongoing revolution is taking place politically, socially, and technologically, and that new digital methods of image production, display, and distribution are simultaneously both reporting and producing social change. The epic social and political transformations of the last few years would not have happened with the speed and in such depth if it weren’t for the ever-expanding possibilities offered by this revolution.
Perpetual Revolution: The Image and Social Change presents six of these critical issues transformed by visual culture: #BlackLivesMatter, gender fluidity, climate change, terrorist propaganda, the right-wing fringe and the 2016 election, and the refugee crisis.
Blue Sky Days will be on display at Berlin’s Museum for Photography with twelve gelatin-silver prints as part of the Watching You, Watching Me group exhibition from Feb. 17 to July 2, 2017.
Museum für Fotografie
About Blue Sky Days:
In October 2012, a drone strike in northeast Pakistan killed a 67-year-old woman picking okra outside her house. At a briefing held in 2013 in Washington, DC, the woman’s 13-year-old grandson, Zubair Rehman, spoke to a group of five lawmakers. “I no longer love blue skies,” said Rehman, who was injured by shrapnel in the attack. “In fact, I now prefer grey skies. The drones do not fly when the skies are grey.”
With my camera attached to a small drone, I traveled across America to photograph the very sorts of gatherings that have become habitual targets for foreign air strikes—weddings, funerals and groups of people praying or exercising. I also flew my camera over settings in which drones are used to less lethal effect, such as prisons, oil fields, and the US-Mexico border. The images captured from the drone’s perspective engage with the changing nature of surveillance, personal privacy and war.
About Watching You, Watching Me:
What right do governments, corporations, and individuals have to collect and retain information on your daily communications? What tools – both today and in the past – have been used to monitor your activities? What are the immediate and far-reaching effects? As governments and corporations around the world expand their efforts to track the communications and activities of millions of people, this not only threatens our right to privacy, but also opens the door for information to be collected and used in ways that are repressive, discriminatory, and chill freedom of speech and expression.
It is in this context of massive information gathering that Watching You, Watching Me – the 22nd installment of the Open Society Foundations’ Moving Walls exhibition – explores how photography can be both an instrument of surveillance and a tool to expose and challenge its negative impact. In tackling the inherent difficulty of visualizing something that is meant to be both omnipresent and covert – seemingly everywhere and nowhere at the same time – the artists in this exhibition employ a dynamic range of approaches. Together, these 10 artists provide a satellite-to-street view of the ways in which surveillance culture blurs the boundaries between the private and public realm. These projects raise important and provocative questions about the role of privacy in preserving our basic freedoms and rights.
Watching You, Watching Me: A Photographic Response to Surveillance curated by Stuart Alexander, Susan Meiselas, and Yukiko Yamagata. Organized by the OSF – New York in cooperation with the Kunstbibliothek – Staatliche Museen zu Berlin.