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"One cannot use spies without sagacity and knowledge, one cannot use spies without humanity and justice" - Sun Tzu
"It was terribly dangerous to let your thoughts wander when you were in any public place or within range of a telescreen. The smallest thing could give you away. A nervous tic, an unconscious look of anxiety, a habit of muttering to yourself—anything that carried with it the suggestion of abnormality, of having something to hide. In any case, to wear an improper expression on your face… was itself a punishable offense."
- George Orwell, 1984, Book 1, Chapter 5
US surveillance began centuries ago with the concept of slave passes, which allowed slave-owners to monitor and control the mobility of their "chattel." Yet the slave pass system was sometimes subverted by the rare slaves who could write, such as Frederick Douglass. These literate slaves could create their own passes and might thus gain freedom for themselves and other slaves. Trafficking in passes and "free papers" soon became a burgeoning business, one that the slave system grappled with for nearly two centuries.
From slaves, the history of surveillance next turns to the infamous Chinese Exclusion Act of 1882, which restricted Chinese immigration to the United States. All Chinese laborers were forced to register with the government and subject themselves to being photographed and fingerprinted. A whole apparatus of surveillance was created.
In the 1920s, government surveillance spread to political radicals, especially workers trying to organize union activity. J. Edgar Hoover headed this government surveillance unit which would later become the FBI. As the 20th century advanced, computer technology proved a powerful enhancement to the regime of surveillance. This allowed most devices and databases to be monitored and evaluated, including automobiles, Your car can be tracked by GPS, and your spending habits can be gleaned from accessing your credit card records. Internet and email are monitored in the workplace and cameras are just about everywhere.
For this show artists will explore the history of surveillance and how this affects us at this present time. They will in turn create work dealing with this theme which will include 2D work, installation, and new media.
ARTISTS PARTICIPATING:
Anni Holm
Drew Browning and Annette Barbier
Dustin Klare
Elvia Rodriguez-Ochoa
Finishing School
Gretel Garcia
Ian Simmons
Jesus Macarena-Avila
Noelle Mason
Patricht Lichty
Tom Sibley
T.W. Li
Venia Bechrakis
Polvo, www.polvo.org
1458 W. 18th St., 1R Chicago, IL 60608
773.344.1940
info@polvo.org

The name of the magazine--mandorla, describing a space created by two intersecting circles--alludes to the notion of exchange and imaginative dialogue that is necessary now among the Americas.
Mandorla is a member of the Council of Literary Magazines and Presses.
Transcript from the News Hour with Jim Lehrer
Time Travelers: Time Based Art Show and Panel Discussion
Curated by [Amelia Winger-Bearskin]
June 29 - July 28, 2007
Opening June 29th at 6pm - 10pm, Live performances begin at 7pm
Panel Discussion Saturday June 30th at 3pm followed by an encore sound art performance
Time Traveler’s is a holistic look at pre-apocalyptic, post-feminist, trans-structuralist, and post post-modern misadventures. Time Traveler’s celebrates misanthropic investigations of human relationships, subversion, and mayhem of any variety; we are actively against describing ourselves anything as simple as avant-garde. Time Travelers recognizes that NEW MEDIA has incorrectly been identified as the repository for all art technologies utilizing a video camera, a computer, and an electrical outlet, but insists that as artists, first and foremost, we can use any f*&%@!’n media we want!
Artists Featured:
Donata Napoli
Dietmar Krumery
Universe of Junk
Haircuts by Robots
Bidzina Kanchaveli
Artur Augustynowicz
Joseph Winchester
Bailie Duncan
Guiniviere Webb
Per Erihsson
Michael Una
Christopher Borkowski
Also this month:
flatsceen DVD by Marina Zurkow
At 3pm on Saturday june 30th we are holding the Time Travelers Panel discussion:
Each time a loaded art word is used, two or more universes will be created in which differing ideas become the dominate paradigm [Everett-Wheeler Graham Theory of Branching Universes]. The following panelists will be but may not be in attendance [Heisenberg Uncertainty Principle]:
The most contentious art movement since the Dadaists, this Time Traveler community discussion on time, space, art and possibilities will occur. Due to the implications of Bell’s Therom, it will link listeners at a Quantum Level across n-dimensional Hilbert Space. WARNING: This panel may be outrageous, and may use utilize a ridiculous blend of word-salad artspeak. Please, a special request to time travelers: check in before teleporting during the panel.
Free Manifestos available at Polvo
Download PDF POSTCARD
Patricht Lichty bio:
For much of the past ten years, much of Patrick Lichty's performance has involved issues including presence/anonymity and critical personae, collaborating with Guillermo Gomez-Pena, Fluxus, Annie Sprinkle, and RTMark. For this panel, Patrick will appear as the shape-shifting Second Life performance artist, Man Michinaga. Man will take part in the discussion and "respond" from his virtual padded room. What part does public persona have to do with the artist as object? Here, What You See is What You Get. Patrick Lichty is a technologically-based conceptual/performance artist, writer, independent curator,
co-founder of Second Front, the first performance art company in Second Life, animator for the activist group, The Yes Men, and Editor-in-Chief of Intelligent Agent Magazine in NYC. Venues in which Lichty has been involved with solo and collaborative works include the Whitney Biennial as well as the International Symposium on the Electronic Arts (ISEA). He is currently Professor of interactive Arts and Media at Columbia College Chicago.
flatsceen DVD: Marina Zurkow
![]() | THE SPACE INVADERS (2005) single channel animated video See Quicktime video ONLINE HERE |
Marina Zurkow works with character and narrative in animated cartoons, interactive installations, print and pop objects.
Zurkow's recent projects include The Space Invaders, a site-specific single channel video for WNET/PBS in New York; and the seven channel animated installation, Nicking the Never, which premiered at FACT in the U.K. in 2004. She's created the award-winning episodic cartoon Braingirl, chronicling a mutant-cute girl who wears her insides on the outside; Pussy Weevil, or How I Learned to Love the War, a vile cartoon persona who reacts to a viewer's proximity; and PDPal, a public art project for screen, web and mobile devices that allows a user to ìwrite her own cityî (with architect Scott Paterson and technologist Julian Bleecker). Zurkow's icons and characters have been incorporated into films, hotel design, lightboxes and clothing.
Upcoming projects include Karaoke Ice, a truck with a persona that stages karaoke battles for ISEA/ZeroOne, the San Jose Biennial in 2006, and Funnelhead, which will be realized as a graphic novel and as an animated, sculptural installation.
Zurkow's work has been exhibited at Sundance, the Rotterdam Film Festival, Ars Electronica, Creative Time, The Kitchen, the Walker Art Center, the Brooklyn Museum, SFMoMA, Eyebeam Atelier, and bitforms gallery, and has been broadcast on MTV, Fuji TV and PBS. She is a 2005 NYFA Fellow, a 2003 Rockefeller New Media Fellow, and received grants in 2005 from the New York State Council on the Arts, and in 2001-2002 from Creative Capital, the Jerome Foundation and the Walker Art Center. She teaches at NYU's Interactive Technology Program (ITP) and lives in Brooklyn.
Polvo, www.polvo.org
1458 W. 18th St., 1R
Chicago, IL 60608
773.344.1940
info@polvo.org

