A sud di Milano si muovono le nuove realtà dell'arte
contemporanea, dopo la stupenda sede della Fondazione Prada e il nuovo
sperimentale ICA, da poche settimane ha aperto Ordet, in via Adige 17, fondato
da Edoardo Bonaspetti, Stefano Cernuschi, Anna Bergamasco e Massimo Giorgetti.
Con una programmazione tranquilla e minima si presenta
un'opera per volta, puntando su una buona qualità e curatela dell'evento
espositivo.
John Knight è il prima artista
invitato che ha prodotto due occasioni espositive, la prima a Maggio e poi ora
a Giugno con due lavori che fruiscono dello spazio in una rilettura fra azione
attiva e passività del ruolo.
A breve un nuovo evento "Homeland" che sarà corredato di diversi azioni
collaterali, ecco il CS
In a surveillance state, the government engages in pervasive surveillance of its citizens and visitors to identify problems, to head off potential threats, to administer and to deliver social services.
Worldwide, the amount of data is growing by 61% per year and it is expected to reach 175 zettabytes (or 175 trillion gigabytes) by 2025, more than five times the amount of data produced in 2018.
By 2025, 75% of the population will be connected, creating and interacting with data.2
When the Berlin Wall crumbled three decades ago, there were only 15 border walls in the world. Today there are 70, with 7 more proposed or in progress.3
Ordet presents HOMELAND, an exhibition that takes its lead from Berlin Lights (1994) by Hermann Pitz (Oldenburg, Germany, 1956), a ready-made installation composed of seven functioning lights from the Berlin Wall, loaned from Collezione La Gaia.
The project reflects on the physical, rhetorical and ideological impact of borders and the growing pervasiveness and sophistication of the systems put in place to monitor, surveil, and control the movement of people, goods, and information.
A program of film and video screenings selected by Ordet’s development committee members, curators and artists, accompanies the installation: these works explore notions of borders, surveillance, technology, information and data mining, alongside the political, social and personal implications of such infrastructures.
The program features works by Chantal Akerman, Yuri Ancarani, James Bridle, Simon Denny, Mohammad Eltayyeb, Harun Farocki, Michael Klier, Lydia Ourahmane, Jon Rafman, Hito Steyerl, Surveillance Camera Players, James T. Hong, Amalia Ulman, Xu Zhen, Andrea Zittel. The calendar of video screenings will be announced through the website.
HOMELAND also presents We all saw this coming, a glimpse of the holdings of the Canadian Centre for Architecture (CCA). The display — curated by CCA — suggests an exploration of seminal investigations on the development of city control technologies combining studies on TV security cameras to be used on construction site by architect Cedric Price (1971) and a series of New York maps produced by Surveillance Camera Players at the end of the 1990s that were included in the exhibition Actions — What you can do with the city (2008). The city of New York — and specifically Times Square — represents one of the first public spaces in the world to have adopted massive use of surveillance cameras to reduce crime rate. We all saw this coming.
