The world is a messy place. Pictures and details of Trevor Paglen: Bloom at Pace, Burlington Gardens, London, September 10 – November 10, 2020 – Contemporary art with installation views This dataset was created by State Farm insurance to adjust their insurance premiums in real-time, based on that information. Scenographies of Power, La Casa Encendida, Madrid. Under the Clouds: From Paranoia to the Digital Sublime, Museu de Arte Contemporânea, Porto, Portugal. https://artisalive.co.uk/2020/09/02/trevor-paglen-at-pace-gallery Paglen’s investigation into the epistemology of representation can be seen in his Symbology and Code Names series which utilize text, video, object, and image to explore questions surrounding military culture and language. (Catalogue). Trevor Paglen: Code Names of the Surveillance State, Metro Pictures, New York, October 25–December 20, 2014. Artificial intelligence algorithms are designed and trained to look for faces, unique key points, lines, circles, and areas of interest as they attempt to deconstruct the underlying reality into a more simplified series of sections or shapes. Previous series have featured a National Security Agency's eavesdropping complex, an Israeli nuclear weapons facility and a secret CIA prison. Bloom (#5f5554), Trevor Paglen, 2020, c/o Pace Gallery Art gallery behemoth Pace will host Trevor Paglen in London this September, with a new exhibition entitled Bloom. Traveled to: University of Michigan Museum of Art, Ann Arbor. Trevor Paglen, American University Museum, Katzen Arts Center, Washington, D.C. Trevor Paglen: Hidden Landscape, Aksioma, Ljubljana, Slovenia, April 4–22, 2011. This is Pace’s second … Traveled to: Ujazdowski Castle Centre for Contemporary Art, Warsaw. Red Thread, TANAS - Space for Contemporary Turkish Art, Berlin. Only the Paranoid Survive, Hudson Valley Center for Contemporary Art, Peekskill, New York. The Automated Image, Le Mois de la Photo à Montréal. Octopus provides virtual access to new art experiences, while also commenting on the issues of access, consent, and surveillance that are profoundly impacting this new hyper-mediated reality. In contrast to the vanitas paintings of the 15th and 16th centuries, Paglen plays with these symbolic tropes, bringing them into the present day and addressing new measures of mortality in the digital era such as Zoom, AI, policing and even such threats as COVID-19. Tech Tools of the Trade: Contemporary New Media Art, de Saisset Museum, Santa Clara University, California. 1974, Camp Springs, MD) is known for investigating the invisible through the visible, with a wide-reaching approach that spans image making, sculpture, investigative journalism, writing, engineering, and numerous other disciplines. Installation view from Jean Dubuffet's 1969 exhibition at Pace Gallery, Simulacres. An artist and author of numerous books and articles, Trevor Paglen uses special equipment to photograph sites of secret government activity, or “black sites,” including the Tonopah Test Range and the Nevada Test and Training Range. Trevor Paglen and Jacob Appelbaum: Autonomy Cube, Edith-Russ-Haus for Media Art, Oldenburg, Germany. Taking centre stage in the exhibition is The Standard Head, a large-scale reconstruction of the 1960’s mathematical model of a “standard head” by the pioneering researcher funded by the CIA, Woody Bledsoe. Dissident Futures, Yerba Buena Center for the Arts, San Francisco. Pace will work in cooperation with Paglen’s American galleries, Metro Pictures, New York, and Altman Siegel, San Francisco, together offering a comprehensive global network through which to maximize exhibition opportunities and exposure for Paglen’s … The Encuentro de Medellin, 2011, Museo de Antioquia, Medelin, Colombia. And when you look into the dead soulless spaces of … Trace Recordings, UTS Gallery, University of Technology, Sydney. After the Gold Rush: Contemporary Photographs from the Collection, Joyce and Robert Menschel Hall for Modern Photography, The Metropolitan Museum of Art, New York. Artists Address Global Warming, The Andy Warhol Museum, Pittsburgh, Pennsylvania. 6 Billion Perps Held Hostage! Trevor Paglen: The Octopus, Frankfurter Kunstverein, Germany, June 20–August 30, 2015. Architecture of Fear, Z33, Hasselt, Belgium. How Much Fascism?, BAK basis voor actuele kunst, Utrecht, Netherlands. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. The Value of Freedom, Belvedere 21, Vienna. (Catalogue), Trevor Paglen: Sites Unseen, Smithsonian American Art Museum, Washington, D.C., June 21, 2018–January 6, 2019. Trevor Paglen: Bloom, Pace Gallery, 6 Burlington Gardens, London, September 10–November 10, 2020. Trevor Paglen: Surveillance States, Prefix Institute of Contemporary Art, Toronto, May 4–June 16, 2018. Stars: Cosmic art from 1900 to today, Lentos Kunstmuseum Linz, Austria. After all stated above, the impression is that Trevor Paglen engages enormous efforts to understand the present moment which until recently felt like distant future. [Control] No Control, 7th Triennale der Photographie Hamburg, Hamburger Kunsthalle. Deep-dive into Trevor Paglen's mind and process as the artist shares insight on the development of his new works in his multi-media exhibition Bloom at Pace in London. New Order: Art and Technology in the Twenty-First Century, Museum of Modern Art, New York. WATCHED! Visibility Machines: Harun Farocki and Trevor Paglen, Center for Art Design & Visual Culture, Baltimore. Trevor Paglen: Machine Visions, Nam June Paik Art Center, Yongin, South Korea, October 16, 2019–February 2, 2020. Opposing Geometries, at Carnegie Museum of Art, Pittsburgh, is on view from 4 September to 14 March. All Power to the People: Black Panthers at 50!, Oakland Museum of California, California. Artists at Work, Cantor Arts Center, Stanford University, California. Trevor Paglen, Bellwether Gallery, New York. Available for sale from Pace Gallery, Trevor Paglen, AC (2020), Pigment on textile, 49.8 × 49.8 × 3.8 cm 70-1/8" × 93-1/8" × 2" (178.1 cm × 236.5 cm × 5.1 cm), framed, 45.7 cm × 45.7 cm (18" × 18"); 49.8 cm × 49.8 cm × 3.8 cm (19-5/8" × 19-5/8" × 1-1/2") framed, Edition 1 of 3 + 1 AP, 121.9 cm × 121.9 cm (48" × 48"); 124.8 cm × 124.8 cm × 5.1 cm (49-1/8" × 49-1/8" × 2"), framed, Edition 2 of 5 + 2 APs, 48" × 48" (121.9 cm × 121.9 cm); 49-1/8" × 49-1/8" × 2" (124.8 cm × 124.8 cm × 5.1 cm), framed, Edition 2 of 5 + 2 APs. Surveillance, Art & Photography, C/O Berlin. FEEDFORWARD - The Angel of History, Laboral Art Center, Gijon, Spain. Marc Glimcher, CEO of Pace, today announced that New York and Berlin-based American artist Trevor Paglen has joined the gallery’s roster of leading international contemporary artists. Trevor Paglen: The Shape of Clouds, Pace Gallery, Geneva, September 4–October 24, 2019. A Democracy of Images: Photographs from the Smithsonian American Art Museum, Smithsonian American Art Museum, Smithsonian Institution, Washington, D.C. Artists-in-Residence: New Works, ArtPace, San Antonio. POW!, California College of Arts and Crafts, San Francisco. (catalogue). Following on from exhibitions at the Barbican and at Prada in Milan and Paris, Paglen continues his analysis of contemporary socio-technical themes including facial recognition, AI, and concepts surrounding … Trevor Paglen: Opposing Geometries, Carnegie Museum of Art, Pittsburgh, Pennsylvania, September 4, 2020–March 14, 2021. Trevor Paglen, says: “It is wonderful to be joining Pace at this exciting moment in its evolution. In a series of pen-on-paper drawings, Paglen shows how complex images are “abstracted” into much simpler versions in computer vision systems, drawing parallels between computer vision systems and Constructivist and Cubist ways of seeing. Walls Turned Sideways, Contemporary Arts Museum Houston. (Out of) Control, 7th International Biennial of Photography and Visual Arts, Liège, Belgium. The Landscape of War, San Jose Institute of Contemporary Art, California. Anamericana, American Academy in Rome and DEPART Foundation, Rome. Portraits and Power: People, Politics, and Structures, Centro di Cultura Contemporanea Strozzina, Florence. Trevor Paglen: The Other Night Sky, Kunsthall Oslo, November 5–December 3, 2010. Trevor Paglen: Inaugural Exhibition Solo Show, Officine Grandi Riparazioni, Turin, March 12–May 31, 2020. The Moon: From Inner Worlds to Outer Space, Henie Onstad Kunstsenter, Høvikodden, Norway. 73-3/16" × 57-3/16" × 2-9/16" (185.9 cm × 145.3 cm × 6.5 cm), framed, 48" × 48" (121.9 cm × 121.9 cm) It’s generating a lot of buzz! London—Pace is pleased to return to its physical space with an exhibition of new works by American artist Trevor Paglen. Courtesy Trevor Paglen and Pace Gallery Trevor Paglen: Recording Carceral Landscapes, The Lab, San Francisco, April 29–May 28, 2005. Hear Trevor Paglen discuss his latest body of work in this new talk . Trevor Paglen’s new Pace London exhibition Bloom is very much of the moment. CounterIntellegence, Justina M. Barnicke Gallery Hart House, University of Toronto. A Different Kind of Order: The ICP Triennial, International Center of Photography, New York. Artist Sammy Baloji on Colonial Legacies, New Stories and Creating the Lubumbashi Biennale … Illegal, Luggage Store Gallery, San Francisco. But after Covid-19 remade the world, the show had to change. 49-1/8" × 49-1/8" × 2" (124.8 cm × 124.8 cm × 5.1 cm), framed, 58" × 58" (147.3 cm × 147.3 cm) The clandestine and the hidden are revealed in series such as The Black Sites, The Other Night Sky, and Limit Telephotography in which the limits of vision are explored through the histories of landscape photography, abstraction, Romanticism, and technology. The colours and shapes in the images represent similar areas that the AI has detected in learning from other images of flowers. Trevor Paglen, Galerie Thomas Zander, Cologne, March 21–June 13, 2009. In the Holocene, MIT List Visual Arts Center, Cambridge, Massachusetts. Held both at 6 Burlington Gardens in London and online, Bloom explores Paglen’s central themes of artificial intelligence, the politics of images, facial recognition technologies, and alternative futures. Trevor Paglen: Code Names, Van Abbemuseum, Eindhoven, Netherlands, September 19, 2013– January 19, 2014. Polyphonic Worlds: Justice as Medium, Contour Biennale 8, Nona Arts Centre, Mechelen, Belgium. Related articles. The exhibition follows Paglen’s installation From ‘Apple’ to ‘Anomaly’, presented at the Barbican Curve from September 2019 to February 2020 and Training Humans, an exhibition of Paglen’s works with Kate Crawford presented at the Prada Foundation, Milan from September 2019 to February 2020. Quelle catastrophe?, Manif d'art 5 / The Québec City Biennial. Computing systems that collect, interpret, and operationalize data that defines and tracks identity, movement, and habits, fuel the artist’s broad practice. Available for sale from Pace Gallery, Trevor Paglen, A Standard Face (2020), Ink on paper, 65 × 52.1 × 3.8 cm Covert Operations: Investigating the Known Unknowns, San Jose Museum of Art, California. A New Ballardian Vision, Metro Pictures, New York. He has participated in group exhibitions at the San Francisco Museum of Modern Art (2008, 2010, 2018); Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); The Metropolitan Museum of Art, New York (2012); Tate Modern, London (2010), and numerous other institutions. Embedded in the work is a critical dialogue on the nature of how we use media and technology and how it impacts the way we see and are seen. A mid-career survey in 2018–2019, Trevor Paglen: Sites Unseen, was a traveling exhibition shown at the Smithsonian American Art Museum in Washington DC and Museum of Contemporary Art San Diego. Held both at 6 Burlington Gardens and on the gallery’s digital platform, Bloom will be presented from 10 September to 10 November 2020 and explores Paglen’s central themes of artificial intelligence, the politics of images, facial recognition technologies, and alternative futures. Trevor Paglen: Unhuman, Altman Siegel, San Francisco, February 10–April 2, 2011. Airlines and Sentiments and The Disasters feature lines of texts culled from datasets that AI developers employ to teach computer systems to analyse and emotionally interpret the content of online communications. Paglen’s investigation into the epistemology of representation can be seen in his Symbology and Code Names series which utilize text, video, object, and image to explore questions surrounding military culture and language. Time as Landscape, Cornell Fine Arts Museum, Rollins College, Winter Park, Florida. The Spectacle of War, The Empty Quarter, Dubai. Trevor Paglen: Machine Visions, Nam June Paik Art Center, Yongin, South Korea, October 16, 2019–February 2, 2020. The New Alphabet – Opening Days, Haus der Kulturen der Welt, Berlin. Expanding Narratives, Smart Museum of Art, University of Chicago. 1974) is an American artist examining the systems and technologies that shape our world. This website uses cookies to offer you a better browsing experience. Home Land Security, Fort Winfield Scott at Langdon Court, Golden Gate National Recreation Area, San Francisco. Close Encounters 2: Acts of Social Imagination, Nathan Cummings Foundation, New York. Trevor Paglen présente douze photographies à la Pace Gallery, The Shape of Clouds. From Jadé Fadojutimi's purposeful paintings at Pippy Houldsworth Gallery to Trevor Paglen's floral AI animations at Pace. Object Fictions, James Cohan Gallery, New York. Ansel Adams in Our Time, Museum of Fine Arts, Boston. In September 2020, Pace Gallery in London held an exhibition of Trevor Paglen's work, exploring 'the weird, partial ways computers look back at us'. Time/Image, Blaffer Art Museum, University of Houston. Ministry of Truth, Boers-Li Gallery, Beijing. But after Covid-19 remade the world, the show had to change. Employing a variety of disciplines throughout his oeuvre, from investigative journalism to scientific research, the exhibition will feature new sculptures, photographs, drawings and digital components that relate to corporate and state use of machine learning algorithms to monitor, extract value, and influence people’s lives. 16.00 BST (on Zoom). 26-3/4" × 20-1/4" × 1-1/2" (67.9 cm × 51.4 cm × 3.8 cm), framed, 22" × 18" (55.9 cm × 45.7 cm) By using this site, you consent to our use of cookies. En Liang Khong Features 10 September 2020 ArtReview. The Altered Landscape: Photographs of a Changing Environment, Nevada Museum of Art, Reno. 18th September 2020 16:58 GMT. The website gave you … The World to Come: Art in the Age of the Anthropocene, Samuel P. Harn Museum of Art, University of Florida, Gainesville. Based in a process of elimination and manipulation rather than accumulation, this series of drawings is the result of the artist’s meticulous interventions in the weave of metal screen fragments, which are coated in ink and pressed onto paper. Trevor Paglen: The Other Night Sky / MATRIX 225, Berkeley Art Museum & Pacific Film Archive, University of California, Berkeley, June 1–September 14, 2008. Version 3, Museum of Contemporary Art, Chicago. Photograph: Paglen Studio/Trevor Paglen, courtesy the artist and Pace Gallery But he is just showing the truth. The Electric Comma, V-A-C Foundation, Palazzo delle Zattere, Venice. Trevor Paglen: Geographies of Seeing, Brighton Photo Biennial, Lighthouse, England, October 6–November 4, 2012. About Held both at 6 Burlington Gardens and online at pacegallery.com, Bloom explores Paglen’s central themes of artificial intelligence, the politics of images, facial recognition technologies, and alternative futures. From Counterculture to Cyberculture, Altman Siegel, San Francisco. Dallas Contemporary Presents "Paolo Roversi: Birds", Sam Gilliam's Latest: A Roundtable Conversation, Barbican Presents "Jean Dubuffet: Brutal Beauty", Elmgreen & Dragset's "The Hive" at the Moynihan Train Hall, 48" × 60" (121.9 cm × 152.4 cm), Edition 4 of 5 + 2 APs, 69" × 92" (175.3 cm × 233.7 cm) When Facts Don’t Matter, Lismore Castle Arts, Waterford, Ireland. (catalogue). Kabir Jhala and . Covert Operations: Investigating the Known Unknowns, Scottsdale Museum of Contemporary Art, Arizona. Le 10 septembre dernier, Trevor Paglen ouvrait les portes de sa nouvelle exposition dans l'espace de la Pace Gallery à Londres. California and the West: Photography from the Campaign for Art, San Francisco Museum of Modern Art. Available for sale from Pace Gallery, Trevor Paglen, We... (2020), Pigment print on archival paper, 185.9 × 145.3 × 6.5 cm Pace London is pleased to return to its physical space with an exhibition of new works by American artist Trevor Paglen. Installation view from Jean Dubuffet's 1969 exhibition at Pace Gallery, Simulacres. Pictures and details of Trevor Paglen: Bloom at Pace, Burlington Gardens, London, September 10 - November 10, 2020 - Contemporary art with installation views Trevor Paglen: Bloom +44 20 3206 7600 Open: temporary closure (catalogue). He grew up on bases in the USA and Germany. A Universe We Can Believe In, Oliver Art Center, California College of the Arts, Oakland. Gorgeous, Asian Art Museum, San Francisco. Please Come Back. Dataesthetics Reloaded, Galerija Nova, Zagreb, Croatia. Smithsonian American Art Museum, Washington, D.C. Utah Museum of Fine Arts, The University of Utah, Salt Lake City, Victoria and Albert Museum, London, United Kingdom. Necessary Force: Art in the Police State, University of New Mexico Art Museum, Albuquerque. Pace is pleased to return to its physical space with an exhibition of new works by American artist Trevor Paglen. 19-5/8" × 19-5/8" × 1-1/2" (49.8 cm × 49.8 cm × 3.8 cm) framed. As art spaces continue to grapple with visitor access in a post-COVID era, Paglen’s new work offers a new perspective on virtual engagement in the gallery space. Trevor Paglen: Behold These Glorious Times!, Center for Contemporary Art, Tel Aviv, September 11, 2017–January 6, 2018. Berkeley Big Bang 08, Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley. In February this year, Trevor Paglen thought he had finished preparing his exhibition, Bloom, showing at Pace Gallery in London (10 September–10 November 2020). Trevor Paglen, Metro Pictures, New York, September 10–October 24, 2015. Through image making, sculpture, investigative journalism, writing and more, he reveals the darker underpinnings of the digital landscape – from mass surveillance to data collection and AI. Social Ecologies, Rail Curatorial Projects at Industry City, Brooklyn. Trevor Paglen explore des thèmes aussi complexes que la surveillance de masse, l’intelligence artificielle et les futurs alternatifs. Rethinking Location. National Gallery of Art, Washington, D.C. National Gallery of Victoria, Melbourne, Australia, The Nelson-Atkins Museum of Art, Kansas City, Missouri, The New School’s Art Collection, New York, RISD Museum, Rhode Island School of Design, Providence, Samuel P. Harn Museum of Art, University of Florida, Gainesville, San Francisco Museum of Modern Art, California. More Real? Trevor Paglen, California College of Arts and Crafts, San Francisco. Art in the Age of Truthiness, SITE Santa Fe. This simplification means that the system is largely rendered invisible. Courtesy of the Artist and Pace Gallery Trevor Paglen’s Three Remarkable Shows. The Planetary Garden, Manifesta 12, Palazzo Ajutamicristo, Palermo. Secret Satellites, Belfast Exposed, Ireland. Based in a process of elimination and manipulation rather than accumulation, this series of drawings is the result of the artist’s meticulous interventions in the weave of metal screen fragments, which are coated in ink and pressed onto paper. Traveled to: Museum of Contemporary Art San Diego, February 21, 2019–June 2, 2019. They do not represent real-to-life colours so much as what the AI thinks the different parts of the images are. These simple truths resonate through Trevor Paglen’s works. From close-ups of individual artworks at unexpected angles to wide frames of the room that allow online participants to watch visitors seeing the work in person, the view of the exhibition via webcam offers an uncanny experience between observation and surveillance. It could be you, at home, clicking on the website for Octopus (2020), the installation project by Trevor Paglen that allowed the stay-at-homes, the voyeurs, the disabled, the bored, the ill, the curious – anyone online – to look in on Bloom, Paglen’s exhibition at the Pace Gallery in London, which ran from September until the latest lockdown forced it to close prematurely this month. Julieta Aranda: Ghost Nets, Galería OMR, Mexico City. Octopus builds on Paglen’s current practice, allowing visitors to engage with his exhibition through a web portal that allows each participant to see the gallery from the viewpoint of cameras trained on various angles of the artworks and the gallery itself. By using this site, you consent to our use of cookies. Wild Sky, Edith-Ruß-Haus, Oldenburg, Germany. Presented alongside these sculptures are a series of new drawings and compositional paintings that are similarly based on mathematical simplifications produced by various computer vision algorithms. The clandestine and the hidden are revealed in series such as The Black Sites, The Other Night Sky, and Limit Telephotography in which the limits of vision are explored through the histories of landscape photography, abstraction, Romanticism, and technology. The Unseen: Fourth Guangzhou Triennial, Guandong Museum of Art, Guangzhou, China. Trevor Paglen, Deadtech, Chicago, Opened February 9, 2001. Paglen's complex and pioneering work examines the systems and technologies that shape society. coincides with two solo exhibitions presented at The Carnegie Museum of Art, Pittsburgh (Sep 4, 2020 – Mar 14, 2021) and at OGR Turin (Oct 10, 2020 – Jan 10, 2021). As art spaces continue to grapple with visitor access in a post-COVID era, Octopus offers a new perspective on virtual engagement in the gallery space. Dystopische Landschaft, Kunstraum Muenchen, Munich. Photograph: Paglen Studio/Trevor Paglen, courtesy the artist and Pace Gallery But he is just showing the truth. Surveying the Terrain, Contemporary Art Museum of Raleigh, North Carolina. Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism, Richard E. Peeler Art Center, DePauw University, Greencastle, Indiana. To See Without Being Seen: Contemporary Art and Drone Warfare, Mildred Lane Kemper Art Museum, Washington University, St. Louis, Missouri. Trevor Paglen, Bloom, runs at Pace Gallery, London, from 10 September to 10 November 2020. Beyond Truth: Photography After the Shutter, The Cleveland Museum of Art. Watching the Earth from the Universe, Mori Art Museum, Tokyo. Traveled to: Miller Gallery, Carnegie Mellon University, Pittsburgh, Pennsylvania and the Colby College Museum of Art, Waterville, Maine. The Last Pictures, Photomonth Festival, Krakow, Poland. Octopus (2020) allows visitors from across the globe to virtually experience the London exhibition through a live web portal connected to cameras placed in the gallery. Conspire, Transmediale 2008, Haus der Kulturen der Welt, Berlin. Une fois de plus, l'artiste américain y présente des œuvres qui mettent en exergue les dangers de l'intelligence artificielle mais imagine également d'un dispositif inédit, inspiré par les mutations technologiques à l'heure du confinement : les visiteurs virtuels peuvent s'y infiltrer à … Un saber realmente útil, Museo Reina Sofia, Madrid. Nothing Stable Under Heaven, San Francisco Museum of Modern Art. Le 10 septembre dernier, Trevor Paglen ouvrait les portes de sa nouvelle exposition dans l'espace de la Pace Gallery à Londres. Trevor Paglen: Deep State, Kunsthalle Winterthur, Switzerland, May 28–July 9, 2017. Trevor Paglen: Black World, Bellwether, New York, November 16–December 23, 2006. 2008 Taipei Biennial, Taipei Fine Arts Museum, Taiwan. By trying to critically resolve the technology, the artist tends to speak about humanity in a philosophically and poetically inclined manner. Panopticon: Visibility, Data, and the Monitoring Gaze, Utah Museum of Contemporary Art, Salt. Trevor Paglen: Bloom / Pace Gallery / London / reviewed by Katie Smith A computer functions on far more than a click of a few buttons. The Distance of a Day: New in Contemporary Art, Israel Museum, Jerusalem. Courtesy Trevor Paglen and Pace Gallery In his “CLOUD” series (2019), Paglen uses algorithms to analyze transcendental photos of the sky; he has continued exploring this technique … Faithless Pictures, The National Museum of Art, Architecture and Design, Oslo. Nothing Will Be As Before, Tanya Leighton, Berlin. Trevor Paglen: Bloom / Pace Gallery / London / reviewed by Katie Smith. Aesthetic of the Virtual, Collection Falkenberg, Hamburg. Trevor Paglen, Secession, Vienna, November 26, 2010–February 13, 2011. Paglen's complex and pioneering work examines the systems and technologies that shape society. 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