Close Encounters 2: Acts of Social Imagination, Nathan Cummings Foundation, New York. Trevor Paglen: Impossible Objects, Altman Siegel, San Francisco, March 15–May 5, 2018. The Art of War, CEPA Gallery, Buffalo, New York. 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. Social Ecologies, Rail Curatorial Projects at Industry City, Brooklyn. Version 3, Museum of Contemporary Art, Chicago. A Different Kind of Order: The ICP Triennial, International Center of Photography, New York. Trevor Paglen, Altman Siegel, San Francisco, February 27–April 11, 2009. Uncanny Values: Artificial Intelligence & You, Vienna Biennale for Change 2019, MAK – Museum für Angewandte Kunst, Vienna. Traveled to: Ujazdowski Castle Centre for Contemporary Art, Warsaw. Technology is seductive. Fractured Narratives: A Strategy to Engage, Cornell Fine Arts Museum, Rollins College, Winter Park, Florida. Distracted Drivers and Classifications of Gait showcase grids composed of thousands of smaller images used to evaluate people’s behaviours for commercial purposes. Available for sale from Pace Gallery, Trevor Paglen, Bloom (#9b746d) (2020), Dye sublimation print, 105.7 × 140 × 5.1 cm Dissident Futures, Yerba Buena Center for the Arts, San Francisco. Illegal, Luggage Store Gallery, San Francisco. 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. The dataset for Distracted Drivers, for example, is a collection of images used to recognise if someone is distracted while driving by an AI system. By Trevor Paglen Sep 10, 2020. En Liang Khong Features 10 September 2020 ArtReview. The New Alphabet – Opening Days, Haus der Kulturen der Welt, Berlin. From Counterculture to Cyberculture, Altman Siegel, San Francisco. 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. Airlines and Sentiments and The Disasters feature lines of texts culled from datasets that AI developers employ to teach computer systems to analyse and emotionally interpret the content of online communications. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. Collaboration with Greg Niemeyer, Mills College Art Museum, Oakland, California. Nothing Will Be As Before, Tanya Leighton, Berlin. A Universe We Can Believe In, Oliver Art Center, California College of the Arts, Oakland. Surveying the Terrain, Contemporary Art Museum of Raleigh, North Carolina. Trevor Paglen, Secession, Vienna, November 26, 2010–February 13, 2011. 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). What Keeps Mankind Alive?, 11th International Istanbul Biennial, Antrepo No.3, Turkey. Embedded in the work is a critical dialogue on the nature of how we use media and technology and how it impacts the way we see and are seen. Tech Tools of the Trade: Contemporary New Media Art, de Saisset Museum, Santa Clara University, California. Galileo e le Arti, Palazzo del Monte di Pietá, Italy. From Jadé Fadojutimi's purposeful paintings at Pippy Houldsworth Gallery to Trevor Paglen's floral AI animations at Pace. Schneider Museum of Art, Southern Oregon University, Ashland. Among his chief concerns are learning how to see the historical moment we live in and developing the means to imagine alternative futures. Please Come Back. Age of Terror: Art since 9/11, Imperial War Museum, London. Under the Clouds: From Paranoia to the Digital Sublime, Museu de Arte Contemporânea, Porto, Portugal. The Big Nothing: A Void, Philadelphia Institute of Contemporary Art, Pennsylvania. More Real? Polyphonic Worlds: Justice as Medium, Contour Biennale 8, Nona Arts Centre, Mechelen, Belgium. Ministry of Truth, Boers-Li Gallery, Beijing. Operation How, Now, Wow, 16 Beaver Space, New York. Trevor Paglen: Unhuman, Altman Siegel, San Francisco, February 10–April 2, 2011. 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). Whereas these attempts at housing artworks on online platforms have mostly taken the form of online viewing rooms, Trevor Paglen’s new show at London’s Pace gallery not only offers a novel take on the format, but casts a sceptical glance over the wider technologies that have become so pervasive in our everyday lives, particularly in 2020. In the Private Eye, ISE Cultural Foundation, New York. The world has become too complex and too fragmented for any human to fully comprehend it. Wild Sky, Edith-Ruß-Haus, Oldenburg, Germany. After the Crash, Universitá delle Marche, Rome. Bloom. Portraits and Power: People, Politics, and Structures, Centro di Cultura Contemporanea Strozzina, Florence. Disappeared, Goff and Rosenthal, New York. In a series of pen-on-paper drawings, Paglen shows how complex images are “abstracted” into much simpler versions in computer vision systems, drawing parallels between computer vision systems and Constructivist and Cubist ways of seeing. 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) From close-ups of individual artworks at unexpected angles to wide frames of the room that allow online participants to watch visitors seeing the work in person, the view of the exhibition via webcam offers an uncanny experience between observation and surveillance. Presented alongside these sculptures are a series of new drawings and compositional paintings that are similarly based on mathematical simplifications produced by various computer vision algorithms. 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