Paolo Cirio on Thu, 7 May 2015 02:32:38 +0200 (CEST)

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<nettime> U.S. intelligence officials became graffiti on public walls - Paolo

   OVEREXPOSED - HD Stencils
   Press Release. NYC, London, Berlin. May 6th 2015.
   Stolen photos of U.S. intelligence officials became graffiti on public
   Artist Paolo Cirio disseminates unauthorized pictures of high-ranking
   U.S. intelligence officials throughout major cities. Cirio found
   snapshots of NSA, CIA, and FBI officers through social media hacks. He
   then spray-paints high-resolution reproductions of their
   misappropriated photos onto public walls, using his HD Stencils
   graffiti technique.
   Everything about the project here:
   Cirio is posting spray painted posters with interventions in New York
   City, London, Berlin and Paris. See the pictures of the interventions
   Full Press Kit here: [3]
   Critical texts by Nato Thompson and Bruce Sterling. Project produced
   and presented by NOME on May 22nd in Berlin.
   This artwork examines the Edward Snowden revelations and exposes some
   of the officials responsible for programs of mass surveillance or for
   misleading the public about them. The targeted intelligence officials
   in the Overexposed series are Keith Alexander (NSA), John Brennan
   (CIA), Michael Hayden (NSA), Michael Rogers (NSA), James Comey (FBI),
   James Clapper (NSA), David Petraus (CIA), Caitlin Hayden (NSC), and
   Avril Haines (CIA). Look at the stories and snapshots that Cirio
   assembled about the last decadeâs most controversial figures in the
   U.S. intelligence community:
   The unseemly photos exposed by Cirio were all taken in informal and
   private contexts, such as selfies, family celebrations, and intimate
   situations, and they were all taken by individuals external to the
   intelligence agencies.
   Cirioâs political satire reveals the extent to which political
   authoritiesâ public images can always be captured on camera by the same
   system they seek to control. Overexposed derides the watchers through
   ridiculous pictures that they lost control of, turning the tables on
   them and their advocacy of mass surveillance and lax privacy practices.
   Look at the theoretical essay concerning the conceptual artistic
   Overexposed also represents an historic moment of the unaccountability
   of war crimes during decades of unjustified military occupations marked
   by brutal extradition and torture programs, the employing of secretive
   drone attacks, the militarization of the Internet, and the degradation
   of civil liberties worldwide.
   Overexposed will be on display starting May 22nd in Berlin at NOME.
   Paolo Cirioâs solo show will include the nine subjects of the
   Overexposed series, painted on canvas and photo paper as fine art
   crafts, on sale to support the artistâs activity.
   Other news about Paolo Cirioâs work
   Another Paolo Cirioâs solo shows, After Transparency, took place in
   Toulouse, France in April. The retrospective included four of the
   artistâs major artworks that raised questions about the notions of
   privacy and secrecy, as well as accountability and anonymity in the
   complexity of global democracy and economy. More about the show After
   About Daily Paywall
   This recent controversial art intervention was just released in
   December. The art performance, with 60,000 articles stolen from major
   financial newspapers, was a great success, with a large audience
   participating in the conceptual economic model that pays people to get
   informed. On Christmas Day 2014, the's ISP took down
   domain name, database, and code of the online art project after
   receiving a complaint from Pearson PLC, the owner of Financial Times &
   The Economist. The same day, The Wall Street Journal terminated the
   subscription and banned the artist for violating their Terms of Service
   agreement. The aggressive legal letter from the British multinational,
   Pearson PLC, mentioned five international copyright laws that the
   artist transgressed for making his artwork. Read Pearsonâs letter:
   This conceptual short circuit on new economies over the control of
   information, knowledge, and education concluded the art performance, as
   Pearson PLC is the largest educational and publishing company in the
   world, monopolizing online degrees and educational testing in U.S.
   colleges and in several other countries. Watch the video presentation
   at FutureEverything festival: [10]
   About Loophole for All
   The project is still a concern for the Cayman Islands and the global
   firms navigating the offshore centers to avoid taxes and legal
   accountability, often in total secrecy. The project also kept receiving
   a number of legal threats, while last year it received the first prize
   of Ars Electronica, the Golden Nica, in Linz in Austria. Pictures of
   the installation:
   Loophole for All will be displayed in Basel, Switzerland, at HeK from
   end of May and it is currently shown at EMAF festival in Osnabruck and
   just presented at Royal Anthropology Institute in London.
   About Global Direct
   This recent artwork also received several reviews and is featured with
   a recent interview in the magazine, AfterImage:
   The installation of Global Direct will be shown in Vancouver at ISEA
   this August.
   About Persecuting US
   The project with 1 million American Twitter profiles, sorted by
   political affiliation. This artwork becomes relevant again with  the
   upcoming presidential election in the U.S. and the revelation of
   domestic spying by the NSA. It was recently shown at Utah MoCA and it
   will be at Modelab in New Zealand in June.
   About Street Ghosts
   The new Google Time Machine compromised some of the archive with over
   one hundred interventions worldwide with this project, yet the new
   feature also opens up new possibilities as now the Street Ghosts
   interventions themselves are being captured by Google camera. These
   cases will be shown at the installations at Apexart in NYC and CENART
   in Mexico City.
   About Face to Facebook
   After four years itâs still in display in several exhibitions, as
   currently at Espacio Fundación Telefónica, Madrid and at Apexart in
   NYC in June.
   Thanks for the attention.



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