A View From Above, featuring Blue Sky Days at the EXPOSED Festival in Turin

My Blue Sky Days series is featured in the group exhibition A View From Above at the Exposed Torino Foto Festival in Italy.

Open from 2 May to 2 June, 2024

OGR Torino
Corso Castelfidardo 22,
10128 Turin
Italy

Group exhibition curated by Domenico Quaranta, Salvatore Vitale and Samuele Piazza

Featured artists: James Bridle, Laura Cinti, Mario Giacomelli, Mishka Henner, Hiwa K, Tabita Rezaire, Evan Roth, Susan Schuppli, Tomas Van Houtryve

About Blue Sky Days

Starting in 2013, I traveled across America to aerially photograph the kind of gatherings that have become habitual targets for drone strikes abroad — including weddings, funerals, and groups of people praying or exercising. I also flew my camera over settings where government surveillance drones have been used domestically.

In October 2012, a drone strike in northeast Pakistan killed a 67-year-old woman picking okra outside her home. At a U.S. Congressional hearing held in Washington in October 2013, the woman’s 13-year-old grandson, Zubair Rehman, spoke to a group of lawmakers. “I no longer love blue skies,” said Rehman, who was injured by shrapnel in the attack. “In fact, I now prefer gray skies. The drones do not fly when the skies are gray.”

The images captured from the drone’s perspective engage with the changing nature of surveillance, personal privacy, and war.

About A View From Above

In recent years the view from above, a once exceptional point of view reserved to people in power and inhuman agents like birds, angels and gods, has become widespread and accessible. In 2011, artist and writer Hito Steyerl introduced the concept of ‘vertical perspective’ to address the “departure of a stable paradigm of orientation,” and to describe what can be seen, to all effects, as the emergence of a new scopic regime.

By replacing the stable horizon and the role played by linear perspective along modernity, vertical perspective established ‘a new visual normality’, firmly rooted in the tools of surveillance and warfare. First perceived as a liberation and a new way of seeing, vertical perspective loses its romantic grip to become identified with the point of view of the power that kills and controls when satellites and drones enter the equation. Always the outcome of a constructed, machine-aided experience of the world, the view from above delocalizes and ultimately dehumanizes the gaze, allowing a God’s eye view on reality not only in terms of position, but also in the way it captures additional information and data; it looks through reality instead of sticking to its surface, and generates ‘total images’ that are both and neither images and maps, representations and visualizations blurring the difference between place and space.

By adopting vertical perspective as its main point of view, the exhibition explores the way in which our look on landscapes through the camera eye has changed along the last decades, and how this shift in scopic regimes affected the way we control, design and shape the environment we live in.