[June 1 – Aug 11] Surveillance Video Experiments by Julia Sinelnikova

Surveillance Video Experiments” is an evolving interactive video installation which explores surveillance in the context of the global internet. The series uses MAX/Jitter code to interpret local surveillance feeds of unknowing citizens alongside selfie webcam feeds of the audience, with the results projected on hand-fabricated translucent installations.

Building 10a / Nolan Park / Governors Island,

Open to the Public: Friday, Saturday, Sunday and Holiday Mondays from June 1 thru August 13, 2019

The sculptural installation examines the relationship between the joy of selfie culture and the lack of security in bulk data collection, with the aim of conjuring dialogue around increased surveillance via private companies and governments.

The latest development of the code for Surveillance Video Experiments was funded by a grant from Harvestworks NYC during in 2018. The program takes a snapshot of a face interacting with the webcam every 10 seconds, and saves this image as a .jpg file with the date in the file name. These new additions allow the program to function as a real life data log, operating in a similar way to many commercial and government surveillance systems today. Users will be asked for consent to participate.

Julia Sinelnikova is an interdisciplinary artist who works with holograms, performance, and digital culture. Her light installations have been exhibited internationally, and she has performed widely as The Oracle of Vector Gallery. She has received commissions from NYC Parks Department, Pace University, Michael Madden (Maroon 5), Refinery29, GIPHY, Webster Hall, and Norte Maar. Heavily inspired by electronic music, Sinelnikova has designed sculptural sets for performers including Lee Burridge, Machinedrum, The GZA (Wu Tang Clan), Peaches, Juliana Huxtable, and Aurora Halal. Selected profiles of her work have appeared in The New York Times, The Wall Street Journal, Office Magazine, VICE, Artnet, Huffington Post, The Creators Project, PAPER Mag, and The New Criterion. Her work has been presented at the Contemporary Art Museum of Houston, The Oulu Museum of Art, and Williamsburg Art & Historical Center. Sinelnikova has also exhibited site-specific installations for Miami Art Week / Art Basel annually since 2011. She holds a BFA in Sculpture from The Fashion Institute of Technology (SUNY). She lives and works in Brooklyn.

In 2018 Sinelnikova advanced her practice via partnerships with two museums. The Tides Institute and Museum in Maine offered the artist a one month residency and commissioned a public installation. In the fall, Sinelnikova was offered a one year scholarship to participate in The New Museum’s NEW INC incubator program, where she is working within a technology-oriented community to launch an immersive artist agency. She also presented two solo exhibitions: one in January at Superchief Gallery NYC, and another in December at Lazy Susan Gallery in Lower Manhattan. She was sponsored by Harvestworks NYC for the entire calendar year, through which she developed a new iteration of the code for “Data Log,” her interactive video and sculpture project. The resulting commission will be display this summer as part of New York Electronic Arts Festival on Governors Island, NYC. Sinelnikova is represented by Wallplay NYC and Cement Gallery (EU).

Videos

“The installation, inspired by cyberpunk novel Snow Crash, incorporates projectors, TVs, hand-cut mylar, binary code and more to create an imaginable world of cyber warfare. At its essence, the solo exhibition looks like a holographic dream…”

Time Out NY, 2018

“She has a way of immersing her audience and this knack for captivation has become her signature. From the outside looking in, Ice Pores resembled a portal. Sinelnikova fully transformed the cozy gallery into a sculptural wonderland.”

Quiet Lunch, 2019

“Stepping into her studio is like stepping into a high-fantasy realm populated by floating organic forms—modular designs with hand-cut details that Sinelnikova says can take up to a year to create.”

Office Magazine, 2018

Interviews

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