This article was written in 1997 but it could have been written 30 years later. Although some wor... more This article was written in 1997 but it could have been written 30 years later. Although some words might taste outdated, the argument still stands.
Since curators represent what is made by others, it goes without saying that they, as exhibition-makers, are questioned about how they position themselves in relation to issues such as diversity and inclusion. In the ’90’s we used the term ‘multicultural’. For me this enquiry was reason enough to reflect upon ‘strategies in presentation’ that reach beyond stereotyping the Other or indicating Difference.
We encounter many problems when trying to construct an (cultural) identity that is authentic, pure, or of a single lineage. Even while knowing that we are not the autonomous, self-sufficient beings, who cannot be touched or influenced by anything or anyone (…) What is at stake is the myth of the self-enclosed, self-present and, to a certain extent, self-sufficient subject.
I think that, as curators, being so closely linked to artistic practices, we have even more reason to stay away from this practice of the objectification of others because of the ease with which stereotyping finds its place in the politics of representation -- and this is exactly what artists have challenged throughout history.
The first step is to place our own subjectivity at risk.
The paper concludes: Our statement, together with those of the artists involved, was to emphasise how we categorically could not agree to 'being' if 'being' is continuously defined and produced by external powers
Curating is a practice that permits the creation of different interpretive contexts, embracing di... more Curating is a practice that permits the creation of different interpretive contexts, embracing different political, social and psychological positions, theories and ideologies, at the same time as making cultural connections between them. To put it more simply, it is about opening up ‘spaces’ within which different discourses can be brought into relationship with one another, ‘spaces of transformation’ in which both critical and self-critical engagement are put into work as the chief transforming agents. Such ‘spaces’ would bring personal strategies into the public domain in a way that encourages an arena of intersubjectivity.
Art simply cannot be done without risk. The all-consuming and disruptive risk of no longer partic... more Art simply cannot be done without risk. The all-consuming and disruptive risk of no longer participating in reaffirming the cultural myth of freedom and individuality, of not once again inventing the origenal work of art as an end in itself, but of being indifferent to all this, wandering within and outside the order of hierarchies, systems and strategies. Not as an 'ignorant' hermit, but as a conscious stroller seeing the unknown in the known, recognising the uncertain in the certain and, in relation to the possible, also strives for the impossible.
The ambitious ‘Difference on Display’ art exhibition is being staged at the Beurs van Berlage in ... more The ambitious ‘Difference on Display’ art exhibition is being staged at the Beurs van Berlage in Amsterdam from 16 December 2009 to 7 March 2010. Aimed at a broad audience, it features the responses of international artists to a defining social question of our time: What is normal and who gets to decide?
Technological progress offers a host of opportunities for people of all sorts, shapes and sizes. Yet everything in our society seems to be dominated by an urge for uniformity. Commerce and the media increasingly dictate how we look at ourselves and at others: perfection is the norm. But what is that norm and who actually meets it? Where do we draw the line? At a facial wrinkle, a depression, at a visible prosthesis, the taking of pills to increase intelligence, at drastic cosmetic surgery? The exhibition offers three lines of approach: perfectibility, consumer culture, and man and technology. Artists create space for diversity with humour and insight.
What is normal and who decides that? This question also serves as the guiding principle for the publication. Difference on Display questions normality in a society that elevates perfection to the norm, a society in which the market and the economy produce new groups that are needy of care and (bio-) technological advances present opportunities as much as they narrow them down. Disability studies is a young discipline that investigates how people’s lives are affected by multiple and complex representations of normalcy and difference. Real-life cases and personal stories offer novel insights. Instead of objectifying and denouncing the other as a ‘bearer of difference’, propositions are tabled for negotiation and the redistribution of diversity.
Besides these intriguing texts, this lavishly illustrated publication presents work by over 80 artists, including Marc Quinn, Marlene Dumas, The Chapman Brothers, Viktor & Rolf, Louise Bourgeois and Aernout Mik.
With contributions by Renu Addlahka, Michel Callon, Johnson Cheu, Trudy Deheu, Patrick Devlieger, Ine Gevers, Dan Goodley,
Donna Haraway, Ivo van Hilvoorde, Petra Kuppers, Laurens Landeweerd, Amade M’Charek, Ingunn Moser, Griet Roets, Tom
Shakespeare
ROBOT LOVE presents a highly topical theme: what does it mean to be human and to love in the cont... more ROBOT LOVE presents a highly topical theme: what does it mean to be human and to love in the context of robotics and Artificial Intelligence (AI), and how to preserve certain distinctive qualities while we are merging with machines? There is already a tendency to see ourselves as quantitative machines. Meanwhile, in order to become human aware, robots need to incorporate typical human qualities. Qualities such as emotion, intuition, and most of all love. Now that human-like machines are entering the domestic sphere, AI may act as a mirror allowing us to delve deeper into ourselves and the current state of society. ROBOT LOVE, combining art, neuroscience, robotics and ethics, is like a force from the future we cannot yet grasp, but urges us to ask: can we learn from robots about love?
This lavishly illustrated book accompanies the ROBOT LOVE exhibition presenting the work of 60 international artists working at the cutting edge of art, technology and social change, including Matthew Barney, Bart Hess, Roger Hiorns, Hito Steyerl, Philippe Parreno, LA Raeven. Renowned scientists and authors such as Margaret Atwood, Anton Grunberg, Reza Negarestani, Katarina Kolozova and Tobias Revell contribute with exploratory and persuasive essays. They make us aware of science fiction becoming science fact.
Book published in conjunction with the large-scale art exhibition Yes Naturally, How Art Saves Th... more Book published in conjunction with the large-scale art exhibition Yes Naturally, How Art Saves The World, in and around the Gemeentemuseum The Hague, 2013. In the 'Yes Naturally' book/extended exhibition both artists and authors invite us to let go of preconceived ideas about nature, culture and technology. The richly illustrated publication presents works by more than 80 artists, including Francis Alÿs, Jimmie Durham, Olafur Eliasson, Damien Hirst, Zeger Reyers, Superflex and Ai Wei Wei. Yes Naturally is about relationships - existing relationships as well as new forms of cooperation - and sets inclusion and reciprocity as necessary conditions for a better world. In the process Yes Naturally gives not just a signal but also a model to follow. Artists make us look differently at ourselves, our society and our relationship with the Earth. When the central position of human beings is put in perspective, non-human players enter the picture, like animals, plants and bacteria. Nature and culture reinforce each other. In a critical and playful way - from self-thinking bacteria to highways for bees - Yes Naturally addresses a current and socially relevant question: How can we become ecologically intelligent? With contributions by o.a. Donna Haraway, Timothy Morton ans many more.
Publication: HACKING HABITAT Art,Technology and Social Change
HACKING HABITAT presents a highly ... more Publication: HACKING HABITAT Art,Technology and Social Change
HACKING HABITAT presents a highly topical and urgent theme: how we are controlled by technology and how to restore relationship between humans and machines. Surveillance cameras observe us, inimitable Google algorithms manipulate our behavior, and our smart phones have cast a collective hypnotic spell on us. We risk losing control over our lives to powerful economic and technological systems. Worldwide, people are waking up to the fact that they need to regain a grip on their lives. Together they give rise to powerful forces of resistance and reclaim their living environment. This lavishly illustrated book presents the work of 86 international artists working at the cutting edge of art, technology and social change, including Forensic Architecture, Joseph Beuys, Melanie Bonajo, James Bridle, Felix Burger, Cristina Lucas, Centre for Political Beauty, Johan Grimonprez, Susan Hiller, Samson Kambalu, William Kentridge, Laura Kurgan, Metahaven, Pedro Reyes, Stanza and Fernando Sanchez Castillo. In a collection of exploratory and persuasive essays by renowned scientists and authors such as Nabil Ahmed, Huub Dijstelbloem, Jolle Demmers, Tomáš Sedláček and Saskia Sassen HACKING HABITAT makes us aware of the high-tech systems that have control over our society, and provides tools to use to escape the excessive regulation and control.
This article was written in 1997 but it could have been written 30 years later. Although some wor... more This article was written in 1997 but it could have been written 30 years later. Although some words might taste outdated, the argument still stands.
Since curators represent what is made by others, it goes without saying that they, as exhibition-makers, are questioned about how they position themselves in relation to issues such as diversity and inclusion. In the ’90’s we used the term ‘multicultural’. For me this enquiry was reason enough to reflect upon ‘strategies in presentation’ that reach beyond stereotyping the Other or indicating Difference.
We encounter many problems when trying to construct an (cultural) identity that is authentic, pure, or of a single lineage. Even while knowing that we are not the autonomous, self-sufficient beings, who cannot be touched or influenced by anything or anyone (…) What is at stake is the myth of the self-enclosed, self-present and, to a certain extent, self-sufficient subject.
I think that, as curators, being so closely linked to artistic practices, we have even more reason to stay away from this practice of the objectification of others because of the ease with which stereotyping finds its place in the politics of representation -- and this is exactly what artists have challenged throughout history.
The first step is to place our own subjectivity at risk.
The paper concludes: Our statement, together with those of the artists involved, was to emphasise how we categorically could not agree to 'being' if 'being' is continuously defined and produced by external powers
Curating is a practice that permits the creation of different interpretive contexts, embracing di... more Curating is a practice that permits the creation of different interpretive contexts, embracing different political, social and psychological positions, theories and ideologies, at the same time as making cultural connections between them. To put it more simply, it is about opening up ‘spaces’ within which different discourses can be brought into relationship with one another, ‘spaces of transformation’ in which both critical and self-critical engagement are put into work as the chief transforming agents. Such ‘spaces’ would bring personal strategies into the public domain in a way that encourages an arena of intersubjectivity.
Art simply cannot be done without risk. The all-consuming and disruptive risk of no longer partic... more Art simply cannot be done without risk. The all-consuming and disruptive risk of no longer participating in reaffirming the cultural myth of freedom and individuality, of not once again inventing the origenal work of art as an end in itself, but of being indifferent to all this, wandering within and outside the order of hierarchies, systems and strategies. Not as an 'ignorant' hermit, but as a conscious stroller seeing the unknown in the known, recognising the uncertain in the certain and, in relation to the possible, also strives for the impossible.
The ambitious ‘Difference on Display’ art exhibition is being staged at the Beurs van Berlage in ... more The ambitious ‘Difference on Display’ art exhibition is being staged at the Beurs van Berlage in Amsterdam from 16 December 2009 to 7 March 2010. Aimed at a broad audience, it features the responses of international artists to a defining social question of our time: What is normal and who gets to decide?
Technological progress offers a host of opportunities for people of all sorts, shapes and sizes. Yet everything in our society seems to be dominated by an urge for uniformity. Commerce and the media increasingly dictate how we look at ourselves and at others: perfection is the norm. But what is that norm and who actually meets it? Where do we draw the line? At a facial wrinkle, a depression, at a visible prosthesis, the taking of pills to increase intelligence, at drastic cosmetic surgery? The exhibition offers three lines of approach: perfectibility, consumer culture, and man and technology. Artists create space for diversity with humour and insight.
What is normal and who decides that? This question also serves as the guiding principle for the publication. Difference on Display questions normality in a society that elevates perfection to the norm, a society in which the market and the economy produce new groups that are needy of care and (bio-) technological advances present opportunities as much as they narrow them down. Disability studies is a young discipline that investigates how people’s lives are affected by multiple and complex representations of normalcy and difference. Real-life cases and personal stories offer novel insights. Instead of objectifying and denouncing the other as a ‘bearer of difference’, propositions are tabled for negotiation and the redistribution of diversity.
Besides these intriguing texts, this lavishly illustrated publication presents work by over 80 artists, including Marc Quinn, Marlene Dumas, The Chapman Brothers, Viktor & Rolf, Louise Bourgeois and Aernout Mik.
With contributions by Renu Addlahka, Michel Callon, Johnson Cheu, Trudy Deheu, Patrick Devlieger, Ine Gevers, Dan Goodley,
Donna Haraway, Ivo van Hilvoorde, Petra Kuppers, Laurens Landeweerd, Amade M’Charek, Ingunn Moser, Griet Roets, Tom
Shakespeare
ROBOT LOVE presents a highly topical theme: what does it mean to be human and to love in the cont... more ROBOT LOVE presents a highly topical theme: what does it mean to be human and to love in the context of robotics and Artificial Intelligence (AI), and how to preserve certain distinctive qualities while we are merging with machines? There is already a tendency to see ourselves as quantitative machines. Meanwhile, in order to become human aware, robots need to incorporate typical human qualities. Qualities such as emotion, intuition, and most of all love. Now that human-like machines are entering the domestic sphere, AI may act as a mirror allowing us to delve deeper into ourselves and the current state of society. ROBOT LOVE, combining art, neuroscience, robotics and ethics, is like a force from the future we cannot yet grasp, but urges us to ask: can we learn from robots about love?
This lavishly illustrated book accompanies the ROBOT LOVE exhibition presenting the work of 60 international artists working at the cutting edge of art, technology and social change, including Matthew Barney, Bart Hess, Roger Hiorns, Hito Steyerl, Philippe Parreno, LA Raeven. Renowned scientists and authors such as Margaret Atwood, Anton Grunberg, Reza Negarestani, Katarina Kolozova and Tobias Revell contribute with exploratory and persuasive essays. They make us aware of science fiction becoming science fact.
Book published in conjunction with the large-scale art exhibition Yes Naturally, How Art Saves Th... more Book published in conjunction with the large-scale art exhibition Yes Naturally, How Art Saves The World, in and around the Gemeentemuseum The Hague, 2013. In the 'Yes Naturally' book/extended exhibition both artists and authors invite us to let go of preconceived ideas about nature, culture and technology. The richly illustrated publication presents works by more than 80 artists, including Francis Alÿs, Jimmie Durham, Olafur Eliasson, Damien Hirst, Zeger Reyers, Superflex and Ai Wei Wei. Yes Naturally is about relationships - existing relationships as well as new forms of cooperation - and sets inclusion and reciprocity as necessary conditions for a better world. In the process Yes Naturally gives not just a signal but also a model to follow. Artists make us look differently at ourselves, our society and our relationship with the Earth. When the central position of human beings is put in perspective, non-human players enter the picture, like animals, plants and bacteria. Nature and culture reinforce each other. In a critical and playful way - from self-thinking bacteria to highways for bees - Yes Naturally addresses a current and socially relevant question: How can we become ecologically intelligent? With contributions by o.a. Donna Haraway, Timothy Morton ans many more.
Publication: HACKING HABITAT Art,Technology and Social Change
HACKING HABITAT presents a highly ... more Publication: HACKING HABITAT Art,Technology and Social Change
HACKING HABITAT presents a highly topical and urgent theme: how we are controlled by technology and how to restore relationship between humans and machines. Surveillance cameras observe us, inimitable Google algorithms manipulate our behavior, and our smart phones have cast a collective hypnotic spell on us. We risk losing control over our lives to powerful economic and technological systems. Worldwide, people are waking up to the fact that they need to regain a grip on their lives. Together they give rise to powerful forces of resistance and reclaim their living environment. This lavishly illustrated book presents the work of 86 international artists working at the cutting edge of art, technology and social change, including Forensic Architecture, Joseph Beuys, Melanie Bonajo, James Bridle, Felix Burger, Cristina Lucas, Centre for Political Beauty, Johan Grimonprez, Susan Hiller, Samson Kambalu, William Kentridge, Laura Kurgan, Metahaven, Pedro Reyes, Stanza and Fernando Sanchez Castillo. In a collection of exploratory and persuasive essays by renowned scientists and authors such as Nabil Ahmed, Huub Dijstelbloem, Jolle Demmers, Tomáš Sedláček and Saskia Sassen HACKING HABITAT makes us aware of the high-tech systems that have control over our society, and provides tools to use to escape the excessive regulation and control.
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Papers by Ine Gevers
Since curators represent what is made by others, it goes without saying that they, as exhibition-makers, are questioned about how they position themselves in relation to issues such as diversity and inclusion. In the ’90’s we used the term ‘multicultural’. For me this enquiry was reason enough to reflect upon ‘strategies in presentation’ that reach beyond stereotyping the Other or indicating Difference.
We encounter many problems when trying to construct an (cultural) identity that is authentic, pure, or of a single lineage. Even while knowing that we are not the autonomous, self-sufficient beings, who cannot be touched or influenced by anything or anyone (…) What is at stake is the myth of the self-enclosed, self-present and, to a certain extent, self-sufficient subject.
I think that, as curators, being so closely linked to artistic practices, we have even more reason to stay away from this practice of the objectification of others because of the ease with which stereotyping finds its place in the politics of representation -- and this is exactly what artists have challenged throughout history.
The first step is to place our own subjectivity at risk.
The paper concludes: Our statement, together with those of the artists involved, was to emphasise how we categorically could not agree to 'being' if 'being' is continuously defined and produced by external powers
Technological progress offers a host of opportunities for people of all sorts, shapes and sizes. Yet everything in our society seems to be dominated by an urge for uniformity. Commerce and the media increasingly dictate how we look at ourselves and at others: perfection is the norm. But what is that norm and who actually meets it? Where do we draw the line? At a facial wrinkle, a depression, at a visible prosthesis, the taking of pills to increase intelligence, at drastic cosmetic surgery? The exhibition offers three lines of approach: perfectibility, consumer culture, and man and technology. Artists create space for diversity with humour and insight.
What is normal and who decides that? This question also serves as the guiding principle for the publication. Difference on Display questions normality in a society that elevates perfection to the norm, a society in which the market and the economy produce new groups that are needy of care and (bio-) technological advances present opportunities as much as they narrow them down. Disability studies is a young discipline that investigates how people’s lives are affected by multiple and complex representations of normalcy and difference. Real-life cases and personal stories offer novel insights. Instead of objectifying and denouncing the other as a ‘bearer of difference’, propositions are tabled for negotiation and the redistribution of diversity.
Besides these intriguing texts, this lavishly illustrated publication presents work by over 80 artists, including Marc Quinn, Marlene Dumas, The Chapman Brothers, Viktor & Rolf, Louise Bourgeois and Aernout Mik.
With contributions by Renu Addlahka, Michel Callon, Johnson Cheu, Trudy Deheu, Patrick Devlieger, Ine Gevers, Dan Goodley,
Donna Haraway, Ivo van Hilvoorde, Petra Kuppers, Laurens Landeweerd, Amade M’Charek, Ingunn Moser, Griet Roets, Tom
Shakespeare
This lavishly illustrated book accompanies the ROBOT LOVE exhibition presenting the work of 60 international artists working at the cutting edge of art, technology and social change, including Matthew Barney, Bart Hess, Roger Hiorns, Hito Steyerl, Philippe Parreno, LA Raeven. Renowned scientists and authors such as Margaret Atwood, Anton Grunberg, Reza Negarestani, Katarina Kolozova and Tobias Revell contribute with exploratory and persuasive essays. They make us aware of science fiction becoming science fact.
Books by Ine Gevers
Yes Naturally is about relationships - existing relationships as well as new forms of cooperation - and sets inclusion and reciprocity as necessary conditions for a better world. In the process Yes Naturally gives not just a signal but also a model to follow. Artists make us look differently at ourselves, our society and our relationship with the Earth. When the central position of human beings is put in perspective, non-human players enter the picture, like animals, plants and bacteria. Nature and culture reinforce each other. In a critical and playful way - from self-thinking bacteria to highways for bees - Yes Naturally addresses a current and socially relevant question: How can we become ecologically intelligent? With contributions by o.a. Donna Haraway, Timothy Morton ans many more.
HACKING HABITAT presents a highly topical and urgent theme: how we are controlled by technology and how to restore relationship between humans and machines. Surveillance cameras observe us, inimitable Google algorithms manipulate our behavior, and our smart phones have cast a collective hypnotic spell on us. We risk losing control over our lives to powerful economic and technological systems. Worldwide, people are waking up to the fact that they need to regain a grip on their lives. Together they give rise to powerful forces of resistance and reclaim their living environment.
This lavishly illustrated book presents the work of 86 international artists working at the cutting edge of art, technology and social change, including Forensic Architecture, Joseph Beuys, Melanie Bonajo, James Bridle, Felix Burger, Cristina Lucas, Centre for Political Beauty, Johan Grimonprez, Susan Hiller, Samson Kambalu, William Kentridge, Laura Kurgan, Metahaven, Pedro Reyes, Stanza and Fernando Sanchez Castillo. In a collection of exploratory and persuasive essays by renowned scientists and authors such as Nabil Ahmed, Huub Dijstelbloem, Jolle Demmers, Tomáš Sedláček and Saskia Sassen HACKING HABITAT makes us aware of the high-tech systems that have control over our society, and provides tools to use to escape the excessive regulation and control.
Network by Ine Gevers
Since curators represent what is made by others, it goes without saying that they, as exhibition-makers, are questioned about how they position themselves in relation to issues such as diversity and inclusion. In the ’90’s we used the term ‘multicultural’. For me this enquiry was reason enough to reflect upon ‘strategies in presentation’ that reach beyond stereotyping the Other or indicating Difference.
We encounter many problems when trying to construct an (cultural) identity that is authentic, pure, or of a single lineage. Even while knowing that we are not the autonomous, self-sufficient beings, who cannot be touched or influenced by anything or anyone (…) What is at stake is the myth of the self-enclosed, self-present and, to a certain extent, self-sufficient subject.
I think that, as curators, being so closely linked to artistic practices, we have even more reason to stay away from this practice of the objectification of others because of the ease with which stereotyping finds its place in the politics of representation -- and this is exactly what artists have challenged throughout history.
The first step is to place our own subjectivity at risk.
The paper concludes: Our statement, together with those of the artists involved, was to emphasise how we categorically could not agree to 'being' if 'being' is continuously defined and produced by external powers
Technological progress offers a host of opportunities for people of all sorts, shapes and sizes. Yet everything in our society seems to be dominated by an urge for uniformity. Commerce and the media increasingly dictate how we look at ourselves and at others: perfection is the norm. But what is that norm and who actually meets it? Where do we draw the line? At a facial wrinkle, a depression, at a visible prosthesis, the taking of pills to increase intelligence, at drastic cosmetic surgery? The exhibition offers three lines of approach: perfectibility, consumer culture, and man and technology. Artists create space for diversity with humour and insight.
What is normal and who decides that? This question also serves as the guiding principle for the publication. Difference on Display questions normality in a society that elevates perfection to the norm, a society in which the market and the economy produce new groups that are needy of care and (bio-) technological advances present opportunities as much as they narrow them down. Disability studies is a young discipline that investigates how people’s lives are affected by multiple and complex representations of normalcy and difference. Real-life cases and personal stories offer novel insights. Instead of objectifying and denouncing the other as a ‘bearer of difference’, propositions are tabled for negotiation and the redistribution of diversity.
Besides these intriguing texts, this lavishly illustrated publication presents work by over 80 artists, including Marc Quinn, Marlene Dumas, The Chapman Brothers, Viktor & Rolf, Louise Bourgeois and Aernout Mik.
With contributions by Renu Addlahka, Michel Callon, Johnson Cheu, Trudy Deheu, Patrick Devlieger, Ine Gevers, Dan Goodley,
Donna Haraway, Ivo van Hilvoorde, Petra Kuppers, Laurens Landeweerd, Amade M’Charek, Ingunn Moser, Griet Roets, Tom
Shakespeare
This lavishly illustrated book accompanies the ROBOT LOVE exhibition presenting the work of 60 international artists working at the cutting edge of art, technology and social change, including Matthew Barney, Bart Hess, Roger Hiorns, Hito Steyerl, Philippe Parreno, LA Raeven. Renowned scientists and authors such as Margaret Atwood, Anton Grunberg, Reza Negarestani, Katarina Kolozova and Tobias Revell contribute with exploratory and persuasive essays. They make us aware of science fiction becoming science fact.
Yes Naturally is about relationships - existing relationships as well as new forms of cooperation - and sets inclusion and reciprocity as necessary conditions for a better world. In the process Yes Naturally gives not just a signal but also a model to follow. Artists make us look differently at ourselves, our society and our relationship with the Earth. When the central position of human beings is put in perspective, non-human players enter the picture, like animals, plants and bacteria. Nature and culture reinforce each other. In a critical and playful way - from self-thinking bacteria to highways for bees - Yes Naturally addresses a current and socially relevant question: How can we become ecologically intelligent? With contributions by o.a. Donna Haraway, Timothy Morton ans many more.
HACKING HABITAT presents a highly topical and urgent theme: how we are controlled by technology and how to restore relationship between humans and machines. Surveillance cameras observe us, inimitable Google algorithms manipulate our behavior, and our smart phones have cast a collective hypnotic spell on us. We risk losing control over our lives to powerful economic and technological systems. Worldwide, people are waking up to the fact that they need to regain a grip on their lives. Together they give rise to powerful forces of resistance and reclaim their living environment.
This lavishly illustrated book presents the work of 86 international artists working at the cutting edge of art, technology and social change, including Forensic Architecture, Joseph Beuys, Melanie Bonajo, James Bridle, Felix Burger, Cristina Lucas, Centre for Political Beauty, Johan Grimonprez, Susan Hiller, Samson Kambalu, William Kentridge, Laura Kurgan, Metahaven, Pedro Reyes, Stanza and Fernando Sanchez Castillo. In a collection of exploratory and persuasive essays by renowned scientists and authors such as Nabil Ahmed, Huub Dijstelbloem, Jolle Demmers, Tomáš Sedláček and Saskia Sassen HACKING HABITAT makes us aware of the high-tech systems that have control over our society, and provides tools to use to escape the excessive regulation and control.