Exhibition | 2015
Exhibition | 2011
- David Bouchard, Bruno Lessard, and Pierre Tremblay, Meta Incognita – variations estivales, time-lapse video and soundtrack.
- Derek Dunlop, A Lover’s Geography, photographs.
- Kristen Atkins, Portrayal Portal, installation with laptop and data projection.
- Jon Rafman, The Nine Eyes of Google Street View, screen captures of Google Street View.
- Tomer Diamant and Mathew Hannam, Comment/Like – Code of Quick Response, installation.
Exhibition | Curated by Jan Allen and Sarak EK Smith, 2010
- Brenda Goldstein, Panopticon, 2003, DVD.
- Antonia Hirsch, The Invisible Hand (after Adam Smith), 2009, surveillance mirrors.
- Dave Kemp, Data Collection, 2009, photographic installation.
- Tran T. Kim-Trang, Ocularis: Eye Surrogates, 1997, DVD.
- Germaine Koh and Ian Verchere, Broken Arrow, version 2, 2009, electronics and custom software.
- Arnold Koroshegyi, Rupture, 2008, 6-minuted looped video installation.
- Ruthann Lee, Trying to Concentrate, 2004, DVD.
- Michael Lewis, Some will take more prodding. Others will be more difficult, 2008, oil on canvas.
- Jill Magid, Evidence Locker: Trust, 2004, DVD and book.
- Walid Ra’ad, Part 3: Miraculous Beginnings, The Dead Weight of a Quarrel Hangs, 1999, DVD.
- Kathleen Ritter, Hidden Camera, 2006, Pigment print.
- David Rokeby, Sorting Daemon, 2003, computer, LCD screen, camera, and projection.
- Tom Sherman, SUB/EXTROS (1), SUB/EXTROS (2), SUB/EXTROS (3), 2001, DVD.
- Cheryl Sourkes, Cam Cities, Virtual Toronto, 2001, inkjet on unstretched exterior vinyl banner, steel bar.
- John Watt, Scannex Man, 1981, DVD.
Border Cultures: Part Three (security, surveillance)
Exhibition | 2015
Final exhibition in a three part series | Art Gallery of Windsor, Windsor, ON.This exhibition was organized by and mounted at the Art Gallery of Windsor from 31 January to 10 May 2015. The final exhibition in a three-part series, Border Cultures: Part Three (security, surveillance) was a group exhibition that, according to its press release, “examines the impact of heightened militarization along national boundaries that has intensified deportations, detentions and mechanisms of surveillance of migrants and foreigners.” The previous two exhibitions in this series focussed on homes, land (2013), and work, labour (2014). Taken together, the three displays were “conceptualized as a research platform, bringing together regional, national and international artists to examine the complex and shifting notions of national boundaries.”