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Julian Röder, Thermal Imaging Camera, Northern Greece, 2012. © Julian Röder 1 / 6 Julian Röder, Thermal Imaging Camera, Northern Greece, 2012. © Julian Röder.

Jules Spinatsch, Detection Detail 10827. C-Print auf Aludibond, 75x50 cm. From Detections – Inside SAP, 2016. © Jules Spinatsch 2 / 6 Jules Spinatsch, Detection Detail 10827. C-Print auf Aludibond, 75x50 cm. From Detections – Inside SAP, 2016. © Jules Spinatsch.

Jules Spinatsch, Detection Detail 10307. C-Print auf Aludibond, 112x75 cm. From Detections – Inside SAP, 2016. © Jules Spinatsch 3 / 6 Jules Spinatsch, Detection Detail 10307. C-Print auf Aludibond, 112x75 cm. From Detections – Inside SAP, 2016. © Jules Spinatsch.

Anouk Kruithof, Concealed Matter(s) 04, wall-sculpture, 2016. Surveillance camera bracket arm, flatbed print on latex, 12x25x70 cm. © Anouk Kruithof 4 / 6 Anouk Kruithof, Concealed Matter(s) 04, wall-sculpture, 2016. Surveillance camera bracket arm, flatbed print on latex, 12x25x70 cm. © Anouk Kruithof.

Anouk Kruithof, Concealed Matter(s) 05, wall-sculpture, 2016. Surveillance camera bracket arm, flatbed print on latex, 16x43x120 cm. © Anouk Kruithof 5 / 6 Anouk Kruithof, Concealed Matter(s) 05, wall-sculpture, 2016. Surveillance camera bracket arm, flatbed print on latex, 16x43x120 cm. © Anouk Kruithof.

Anouk Kruithof, Concealed Matter(s) 06, wall-sculpture, 2016. Surveillance camera bracket arm, flatbed print on latex, 18x30x50 cm. © Anouk Kruithof 6 / 6 Anouk Kruithof, Concealed Matter(s) 06, wall-sculpture, 2016. Surveillance camera bracket arm, flatbed print on latex, 18x30x50 cm. © Anouk Kruithof.

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The Control of Images

After the first two exhibitions, entitled Chapter 1 - The Hierarchy of Images and Chapter 2 - The Conflict of Images, Foto Forum gallery in Bozen hosts Chapter 3 - The Control of Images, a interesting visual path curated by Sabine Gamper and Nicolò Degiorgis. This is the last chapter of a trilogy of exhibitions dedicated to the current forms of documentary photography and built around positions that address important subjects in our contemporary, globalised society in a critical and reflective way.

This new exhibition is dealing with the topic of control and surveillance, as well as with the critical observation of problematic social processes. It is a sort of critical look at to how great an extent we are monitored by surveillance cameras, via Internet, Google, etc. as we go about our day-to-day lives. Socially engaged photography can also make processes visible that significantly affect our social, economic and ecological actions, exposing injustices, mismanagement and secret machinations. The exhibition illustrates in this respect how photography can be both a surveillance instrument and a tool to reveal and challenge its negative potential impact. Three are the author involved and all their three positions demonstrate to what extent culture blurs the boundaries between the private and public spheres. In this way, they pose important and provocative questions about the role of privacy in safeguarding fundamental rights and freedoms.

The Dutch artist Anouk Kruithof, who lives in New York, Amsterdam and Mexico City, deconstructs digital Instagram images of the TSA (Transportation Security Agency) in her works, which in the Concealed Matters project show not only confiscated weapons, but also passport photos of the persons from whom these weapons were confiscated. The portraits were blurred and rendered unrecognisable so that the faces dissolve into pixeled colour fields. The artist presents them as installation by scaling these up and printing them on thin latex sheets that are hung over surveillance cameras.

Julian Röder, a German photo artist living in Berlin, directs his gaze on a squad of Frontex guards. Frontex is a much-discussed organisation that guards the European borders against human traffickers and illegal immigrants using satellite technology, highresolution cameras and drones. The works from the Mission and Task photo series can be understood literally as counter-images since the artist does not direct his gaze on the refugees who have time and again been degraded to objects in photographic images, but rather towards those who stand guard over these migrational movements.

The Swiss photo artist Jules Spinatsch, in contrast, uses computer-controlled cameras installed in two buildings whose architectural structures are strikingly similar: the company headquarters in Walldorf of SAP, which develops software for surveillance processes, and the penal facility in Mannheim. In this way, the artist makes analogies between these two sites of control evident in a frightening way.

Chapter 3 - The Control of Images
Anouk Kruithof, Julian Röder, Jules Spinatsch
Foto Forum - Südtiroler Gesellschaft für Fotografie, via Weggestein-Straße, 3f - Bolzano/Bozen (Italy)
12 December 2017 – 27 January 2018

opening times: from Tuesday to Friday, 3 pm - 7 pm | Saturday, 10 am - 12 am | closed on Sundays and Mondays
admission fee: free entry
info: +39 (0)471 982159
info@foto-forum.it
www.foto-forum.it

_ _ _

[ EXTERNAL RESOURCES ]
◎ Anouk Kruithof
◎ Julian Röder
◎ Jules Spinatsch
◎ Foto Forum

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published on 2018-01-21 in NEWS / EXHIBITIONS

FotoForum SabineGamper NicoloDegiorgis AnoukKrithof JulesSpinatsch JulianRoder

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The Control of Images

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