November 3-6, 2016
Taking place in Montreal, The HTMlles is an international biennial festival that brings together artists, scholars, and activists who are passionate about critical engagement with new technologies from a feminist perspective. Based on a specific theme, each edition addresses urgent socio-political questions by pushing the boundaries of artistic and feminist practices.
The HTMlles is produced by Studio XX, a bilingual, feminist artist-run centre for technological exploration, creation, and critique, founded in 1996.
On this year’s theme, Terms of Privacy:
Current discussions around privacy are shaped by the role new technologies play in enabling modern forms of individual, corporate, and state surveillance. In 2013, Edward Snowden revealed that the U.S. National Security Agency (NSA) operates numerous global surveillance programs targeting governments, corporations, and civilians in the United States and abroad, and thus what everyone suspected became official: that we—tech consumers—are watched, listened to, traced, and monitored in real time via our gadgets and personal computers.
As we speak or type, programs of mass surveillance gather our personal data and mega-data. Further, Snowden’s leaked classified information revealed that the problem goes beyond the NSA, linking Australia, Canada, New Zealand, the United States and the United Kingdom in an intelligence alliance known as the “five-eyes”.
Snowden’s revelations opened the lid on a broad range of concerns regarding privacy in the 21st century, at the state level certainly, but also within the more intimate spheres of everyday life. In this 12th edition The HTMlles invites artists, scholars, and technologists to creatively engage with the concept of privacy and to image and imagine the “terms” of individual and collective privacy necessary to resist old and new forms of marginalization and oppression.
“La proposition la plus intrigante de CRTL + [Je] reste sans doute Parent Folder, de l’artiste Whitefeather, dont le père, parti depuis plusieurs années à l’étranger en coupant tout contact, lui a ensuite donné accès aux caméras de surveillance de sa propriété. Des images de basse résolution, sans son, comme toute offre d’intimité, voilà de quoi nourrir la réflexion sur la notion même de proximité et de partage.” —Le Devoir
WhiteFeather’s work is shown in the exhibition, CTRL + [SELF]: INTIMACY, EXTIMACY AND CONTROL IN THE AGE OF THE OVEREXPOSURE OF SELF curated by Laura Baigorri, at Studio XX in the main gallery space.