In the Holocene, MIT List Visual Arts Center, Cambridge, Massachusetts. Schritte ins Verborgene = Steps into the arcane, Kunstmuseum Thrugau, Warth, Switzerland. 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. They do not represent real-to-life colours so much as what the AI thinks the different parts of the images are. The Planetary Garden, Manifesta 12, Palazzo Ajutamicristo, Palermo. Quiet Earth, presented by Ballroom Marfa, Robert Rauschenberg Foundation, New York. Anamericana, American Academy in Rome and DEPART Foundation, Rome. Walls Turned Sideways, Contemporary Arts Museum Houston. Will and Be Going To, Altman Siegel, San Francisco. By using this site, you consent to our use of cookies. 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. Trevor Paglen: Code Names of the Surveillance State, Metro Pictures, New York, October 25–December 20, 2014. Trevor Paglen: Inaugural Exhibition Solo Show, Officine Grandi Riparazioni, Turin, March 12–May 31, 2020. Polyphonic Worlds: Justice as Medium, Contour Biennale 8, Nona Arts Centre, Mechelen, Belgium. (Catalogue). Trevor Paglen, Secession, Vienna, November 26, 2010–February 13, 2011. Opposing Geometries, at Carnegie Museum of Art, Pittsburgh, is on view from 4 September to 14 March. Spectacle & Scaffolding: Contemporary Photography Muses Hierarchy, Turchin Center for the. 55-1/8" × 41-5/8" × 2" (140 cm × 105.7 cm × 5.1 cm), framed, 26" × 19-1/2" (66 cm × 49.5 cm) By trying to critically resolve the technology, the artist tends to speak about humanity in a philosophically and poetically inclined manner. Art in the Age of Truthiness, SITE Santa Fe. Trevor Paglen: Recording Carceral Landscapes, The Lab, San Francisco, April 29–May 28, 2005. A Historic Occasion, Massachusetts Museum of Contemporary Art, North Adams. Traveled to: Museum of Art, Architecture and Technology, Lisbon. Pace Gallery’s second exhibition with Trevor Paglen coincides with two solo exhibitions presented at The Carnegie Museum of Art, Pittsburgh (4th September 2020 – 14th March 2021) and at OGR Turin (10th October 2020 – 10th January 2021). We disregard the future. Trevor Paglen: Machine Visions, Museo Tamayo, Mexico City, June 28–September 30, 2018. This dataset was created by State Farm insurance to adjust their insurance premiums in real-time, based on that information. Trevor Paglen, says: “It is wonderful to be joining Pace at this exciting moment in its evolution. Trevor Paglen, American University Museum, Katzen Arts Center, Washington, D.C. Trevor Paglen: Hidden Landscape, Aksioma, Ljubljana, Slovenia, April 4–22, 2011. CounterIntellegence, Justina M. Barnicke Gallery Hart House, University of Toronto. Necessary Force: Art in the Police State, University of New Mexico Art Museum, Albuquerque. Trevor Paglen: Inaugural Exhibition Solo Show, Officine Grandi Riparazioni, Turin, March 12–May 31, 2020. In addition to the mediation with the audience, an extensive following program is being prepared, and an artist talk by Paglen is already scheduled for 20 June 2018. Trevor Paglen, Altman Siegel, San Francisco, March 5–May 2, 2015. 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. https://artisalive.co.uk/2020/09/02/trevor-paglen-at-pace-gallery 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) 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. Here We Are Today, Bucerius Kunst Forum, Hamburg. 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. By using this site, you consent to our use of cookies. The Last Pictures, Photomonth Festival, Krakow, Poland. The Culture of Fear/Die Kultur der Angst, HALLE 14, Leipzig, Germany. Traveled to: Huarte Centro de Arte Contemporáneo, Spain and the Canzani Center Gallery, Columbus College of Art & Design, Ohio. They Used to Call it the Moon, Baltic Centre for Contemporary Art, Newcastle, United Kingdom. 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. From Jadé Fadojutimi's purposeful paintings at Pippy Houldsworth Gallery to Trevor Paglen's floral AI animations at Pace. Electronic Superhighway (2016-1966), Whitechapel Gallery, London. 70-1/8" × 93-1/8" × 2" (178.1 cm × 236.5 cm × 5.1 cm), framed, 54" × 40-1/2" (137.2 cm × 102.9 cm) By Trevor Paglen Sep 10, 2020. Scenographies of Power, La Casa Encendida, Madrid. 1996, University of California at Berkeley, B.A. Aesthetic of the Virtual, Collection Falkenberg, Hamburg. Trevor Paglen: Bloom, Pace Gallery, 6 Burlington Gardens, London, September 10–November 10, 2020. The project is a provocation, acting as a window into some of the racist, misogynistic, cruel, non-scientific, controversial, and simply absurd categorisations embedded within ImageNet and other training sets that AI models are built upon. Trevor Paglen’s new Pace London exhibition Bloom is very much of the moment. Surveillance, Art & Photography, C/O Berlin. I am here to learn: On Machinic Interpretations of the World, Frankfurter Kunstverein, Frankfurt. More Real? Trevor Paglen: Surveillance States, Prefix Institute of Contemporary Art, Toronto, May 4–June 16, 2018. (catalogue). (catalogue). Nina Beier, Judith Hopf, John Miller, Trevor Paglen, Halsey McKey Gallery, East Hampton, New York. Traveled to: Akademie der kunste, Berlin; Gallery 400, University of Illinois, Chicago; Gund Gallery, Kenyon College, Ohio. Trevor Paglen was born in 1974 at an Air Force base in Maryland where his father was an ophthalmologist. Après une rétrospective importante de Trevor Paglen au Smithsonian Amercian Art Museum de Washington DC, l’artiste américain a une actualité chargée en Europe pour cette rentrée 2019. Paglen's complex and pioneering work examines the systems and technologies that shape society. Allen Memorial Art Museum, Oberlin College, Ohio, Amon Carter Museum of American Art, Fort Worth, Texas, Berkeley Art Museum and Pacific Film Archive, California, Carl & Marilynn Thoma Art Foundation, Santa Fe, New Mexico and Chicago, Illinois, Colby College Museum of Art, Waterville, Maine, Cornell Fine Arts Museum, Rollins College, Winter Park, Florida, The Denning House Collection, Stanford University, California, Eli and Edythe Broad Art Museum at Michigan State University, East Lansing, Henry Art Gallery, University of Washington, Seattle, Institute of Contemporary Art, Boston, Massachusetts, Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, California, Mildred Lane Kemper Art Museum, Washington University, St. Louis, Missouri, MIT List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, Musée d'art contemporain de Montréal, Canada, Musée d'art moderne Grand-Duc Jean, Luxembourg City, Museum of Contemporary Art San Diego, California, Museum of Fine Arts, Boston, Massachusetts, Museum of Modern Art, New York Solomon R. Guggenheim Museum. The Distance of a Day: New in Contemporary Art, Israel Museum, Jerusalem. The Sun Placed in the Abyss, Columbus Museum of Art, Ohio. 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). Courtesy Trevor Paglen and Pace Gallery Off the Grid, Neuberger Museum of Art, State University of New York at Purchase, New York. Tech Tools of the Trade: Contemporary New Media Art, de Saisset Museum, Santa Clara University, California. Close Encounters 2: Acts of Social Imagination, Nathan Cummings Foundation, New York. Trace Recordings, UTS Gallery, University of Technology, Sydney. Trevor Paglen was born in 1974 in Maryland, and his wide-ranging work includes sculpture, journalism, and engineering as well as image-making. The World As Prison?, Museo nazionale delle arti del XXI secolo, Rome. 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. The system that is in place is highly complex, but it has been simplified in order for the everyday person to use. 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) A New Ballardian Vision, Metro Pictures, New York. Traveled to: University of Michigan Museum of Art, Ann Arbor. Thought Crimes: The Art of Subversion, Diverse Works, Houston. The Image of War, Bonniers Konsthall, Stockholm. Counter Productive Industries, 1926 Gallery, Chicago. Trevor Paglen, Galerie Thomas Zander, Cologne, March 21–June 13, 2009. Trevor Paglen: The Shape of Clouds, Pace Gallery, Geneva, September 4–October 24, 2019. In a complex body of work that encompasses sculpture, photography, drawings and digital practices like facial recognition technology and AI, Trevor Paglen interrogates the systems that underpin today’s society. Dialoguing with The Standard Head is The Model (Personality), a plated bronze phrenology skull derived from the current categories that are used in predictive policing and sentencing algorithms that intend to gauge someone’s level of criminality by measuring their psychological attributes and behaviours. Trevor Paglen, Salina Art Center, Kansas, 2001. The MacArthur genius grant winner's solo exhibition at Pace Gallery in London looks at the weird, partial ways computers look back at us. What Keeps Mankind Alive?, 11th International Istanbul Biennial, Antrepo No.3, Turkey. Tom Seymour. Trevor Paglen, Metro Pictures, New York, September 10–October 24, 2015. California and the West: Photography from the Campaign for Art, San Francisco Museum of Modern Art. Desert Secrets, Utah Museum of Fine Art, Salt Lake City. Kabir Jhala and . Quelle catastrophe?, Manif d'art 5 / The Québec City Biennial. 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. Trevor Paglen, Bellwether Gallery, New York. The Altered Landscape: Photographs of a Changing Environment, Nevada Museum of Art, Reno. Trevor Paglen, says: “It is wonderful to be joining Pace at this exciting moment in its evolution. Everything is Connected: Art and Conspiracy, The Met Breuer, New York. On Watching and Being Seen, Northern Illinois University Art Museum, DeKalb, Illinois. This website uses cookies to offer you a better browsing experience. This simplification … 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. Pace is a leading contemporary art gallery representing the most significant artists and estate of the 20th and 21st centuries. Radical Landscapes, The di Rosa Museum, Napa, California. Courtesy of the Artist and Pace Gallery Trevor Paglen’s Three Remarkable Shows. Trevor Paglen: Sites Unseen will open on 21 June 2018 at the Smithsonian American Art Museum in Washington, D.C., and will last until 6 June 2019. Dataesthetics Reloaded, Galerija Nova, Zagreb, Croatia. 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. Collaboration with Greg Niemeyer, Mills College Art Museum, Oakland, California. 2008 SECA Art Award Exhibition, San Francisco Museum of Modern Art, San Francisco. Time as Landscape, Cornell Fine Arts Museum, Rollins College, Winter Park, Florida. Age of Terror: Art since 9/11, Imperial War Museum, London. Artists at Work, Cantor Arts Center, Stanford University, California. Vortexhibition Polyphonica, Henry Art Museum, University of Washington, Seattle. 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 Covert Operations: Investigating the Known Unknowns, San Jose Museum of Art, California. Time, Forward!, V-A-C Zattere, Venice, Italy. Graphic Design – Now in Production, Walker Art Center, Minneapolis, Minnesota. Highlights of the exhibition will include Bloom, a series of large-scale photographs that depict flower formations conceptualized by various computer vision algorithms created to analyse the constituent parts of real-life photographs. Gorgeous, Asian Art Museum, San Francisco. Object Fictions, James Cohan Gallery, New York. (catalogue). Beyond Truth: Photography After the Shutter, The Cleveland Museum of Art. The Value of Freedom, Belvedere 21, Vienna. 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 … Time/Image, Blaffer Art Museum, University of Houston. Expanding Narratives, Smart Museum of Art, University of Chicago. 2008, University of California at Berkeley, PhD in Geography. 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. 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). A Universe We Can Believe In, Oliver Art Center, California College of the Arts, Oakland. Universal Code, The Power Plant, Toronto. The Unseen: Fourth Guangzhou Triennial, Guandong Museum of Art, Guangzhou, China. 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) Pace returns to its physical space with an exhibition of new works by American artist Trevor Paglen. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. To See Without Being Seen: Contemporary Art and Drone Warfare, Mildred Lane Kemper Art Museum, Washington University, St. Louis, Missouri. 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. 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