Global Control and Censorship
26.01.2018 – 01.03.2018
Opening: 26.01.2018 / 18.00
Venue: Arsenal Gallery, ul. A. Mickiewicza 2, Białystok
Artists: Hamra Abbas, Selma Alaçam, Halil Altındere, Daniel G. Andújar, Osman Bozkurt, James Bridle, Alice Cavoukdjian dite Galli, Michael Grudziecki, KIT – KASTEL, Fréderic Krauke, Marc Lee, Virginia Mastrogiannaki, Erik Mátrai, Chris Oakley, Ruben Pater, Dan Perjovschi, Ma Qiusha, R.E.P., Oliver Ressler, Bernhard Serexhe, Christian Sievers, Kota Takeuchi, Wilko Thiele, Ivar Veermäe, Alex Wenger & Max-Gerd Retzlaff,
Curators: Bernhard Serexhe, Lívia Nolasco-Rózsás
Collaboration on the part of Gallery: Eliza Urwanowicz-Rojecka

Knowledge is power. And power is possessed especially by whoever controls the flow of information. This applies particularly in digital culture, where all the information in the World Wide Web can be manipulated, uncontrolled.
For a long time, a hope for new forms of democratic participation arose from the use of these digital instruments, but recently they have been misused as the ideal door opener for the surveillance of billions of people. Democratic states have long reserved the right to spy even on their »friends«, in all military, economic, and social aspects, and on all levels: governments, organizations, NGOs, and individual citizens are all under surveillance.

The Catalogue by Chris Oakley is appearing in the exhibition Globale: Global Control and Censorship, ZKM Karlsruhe, Oct 03, 2015 – May 01, 2016

Half-Life is be screened at Nuclear Culture on Film, Sunday 28 April 2013, 11am – 5.30pm. The Arts Catalyst, London.

Mark Aerial Waller / Isao Hashimoto / Sandra Lahire / Otolith Group / Eva & Franco Mattes / Chris Oakley / Yelena Popova

A programme of artists’ films investigating nuclear culture from the perspective of the 21st Century reflecting on 1980s feminist experimental film and activism, gritty dramatic satire of the 1990s, and recent video-essay works from 2009 – 2012. Artists narrate their own experience of nuclear environments in Britain, the Urals, Estonia, Ukraine, Japan and Canada, travelling back home or to sites of disaster to try and capture the invisible or the unimaginable. Investigating the aesthetic implications of radiation reveals the impossibility of capturing an energy that bleaches the images from film and erases the hard drives of digital devices. The films raise important questions for nuclear critique from nuclear entropy, utopian and dystopian belief systems, questioning scientific certainty, political agency and the proliferation of nuclear culture. Curated by Ele Carpenter with students from MFA Curating, Goldsmiths.