- Pizza Hurt
- McAmen
- War and Peace
- Big Brother
- Poetry
- Thousand Plateaus
- Graffiti in the Ruins
- The Dragon Found
- Mortal World
Information
Dome surveillance cameras,
under the control of AI and pre-set programs, autonomously capture moving objects within the scene.
Bullet cameras,
tirelessly capture the entire scene of the street.
Under the gaze of these surveillance cameras, the street can be imagined as a stage where the tapestry of life is dissected into fragments and bits of data on large hard drives. Can all this chaotic movement possess an orderly aesthetic significance?
When Big Brother is no longer a novel topic, having transcended imagination and integrated into everyday life, it blurs and obscures power dynamics. Can people still distinguish whether it's His eyes or His essence they are encountering?
Accustomed to living under surveillance, people forget they are being watched. In the moment when gazes intersect, might they remember the meaning for existence?
All the video materials are sourced from open-access surveillance footage.
Dome surveillance camera, similar to an eyeball, can rotate to capture the scene.
Bullet surveillance camera, responsible for recording the complete view of the scene with a fixed lens.
Video 05:00
Dome surveillance camera
The struggle of homeless people for possession of a trash can on the street under surveillance.
Music: Wozzeck, Op. 7:Act II Scene 5, "Wachstube in der Kaserne" (Guardroom in the Barracks): Oh, oh, Andres! Ich kann nicht schlafen (Wozzeck, Andres, Drum-major, A Soldier)
Roman Trekel/Robert McPherson/Gordon Gietz/Frederick Ballentine/Houston Symphony/Hans Graf
Video 02:43
Dome surveillance camera & bullet surveillance camera.
Artist holds a fake surveillance camera follows and films passersby.
Music: Wozzeck, Op. 7, Act II: Wohin so eilig, gehertester, Herr Sargnagel? (Live)
Houston Symphony Orchestra