From targeted espionage to automated spyware and data retention, the common idea of spying has morphed alongside the capabilities of government agencies and global businesses to widely harvest large amounts of data. Spying is no longer primarily associated with targeted identification of individuals, but rather the continuous monitoring of citizens. This increase in sample size, as well as widespread participation in self-surveillance via social media networks, transforms personal information into general data. Although the integration of public and private information into storable data engenders serious consequences, there are also other farcical aspects to the situation. What happens when the majority of data collected is overwhelmingly boring? Where does the electronic capturing of information leave the technologically incompetent spy? Does universal spying increase paranoia to a pynchon-esque level, to the point where one’s beverage preference must be protected at all costs? A Plant is a Plant presents a new body of artworks that considers some of the irrational effects of increased surveillance.
Marnie Edmiston is a visual artist based in Melbourne. Her practice engages with ideas of recognition, perception and visibility, especially regarding processes of organisation, the attribution of meaning and significance, and ultimately who or what can be recognised or perceived. How these processes operate between the singular and multiple is of particular concern. Marnie is currently an MFA candidate at Monash University.
Metro Arts Gallery 2 / Level 2
This exhibition is presented by FAKE estate as the 2016 Metro Arts ARI in Residence. FAKE estate are proud to be sponsored by Queensland Government through Arts Queensland.
Opening Event / 17 August, 6pm
Critical Brunch / 3 September, 11am
