@mishkahenner’s Dutch Landscapes series, where the artist appropriates censored Google Earth images of significant political, economic, and military locations, which Dutch authorities have concealed with a stylized array of multi-colored polygons. On view starting November 4, as part of the Moving Walls 22 / Watching You, Watching Me exhibition at @opensocietyfoundations in New York.
Would love to see this show in NYC — Brings up many questions about what “work” exhibitions and exhibited images do. Is visibility of, and the exposed aesthetic created by, state secrecy (the Dutch variety, in this example) an impediment or a questioning to state power? What does the registry and archival collection of secrecy’s trace produce, or is it a kind of titillation? What subjects are inscribed in this kind of work?
Another one (via @opensocietyfoundations instagram account)
Tomas van Houtryve’s Blue Sky Days series. Using a camera attached to a drone that he purchased, Van Houtryve photographed locations and gatherings in the United States that reference American drone use—both domestically and abroad—to reflect on privacy, surveillance, and contemporary warfare.
Lately have also been thinking about the unseen dimensions of these kinds of images — what are the networks and infrastructures that create the environment for these images, and how are those secured? The space of the gallery and the space of the satellite spill into each other…?