Torí, 1979.
Paolo Cirio
Cirio’s artworks stimulate ways of seeing, examining, and challenging modern complex social systems, processes, and dynamics. Cirio uses popular language, irony, interventions, and seductive visuals to engage a broad audience with artworks addressing critical issues. His aesthetic investigations are highly conceptual, with stratified and interconnected meanings, functions, and agents, presented as a closed system of reference composed of interrelated ideas and actions.
Paolo Cirio’s art translates critiques of information systems into artefacts that document and visually illustrate the social structures examined in his conceptual work. Cirio’s installation art combines images, photographs, diagrams, documents, public art, and videos to engage the general public in experiencing and discovering the themes, outcomes, and significance of his interventions and concepts.
Paolo Cirio has exhibited at major international institutions including C/O Berlin; Museum für Fotografie, Berlin; Musée National d’Histoire et d’Art of Luxembourg; Victoria and Albert Museum, London; Somerset House, London; ICP Museum, New York; China Academy of Art, Hangzhou; MoCA Sydney; ZKM, Karlsruhe; CCCB, Barcelona; MAK, Vienna; National Museum of Contemporary Art, Athens; MoCA Taipei; Sydney Biennale; 12th Gwangju Biennale, South Korea; Fondazione Sandretto Re Rebaudengo, Turin; and NTT ICC, Tokyo.
Work in the collection: Michael Rogers
https://www.paolocirio.net/
https://en.wikipedia.org/wiki/Paolo_Cirio
Michael Rogers, 2015
This artwork is part of a series of nine unauthorized photos of high-ranking United States intelligence officials from the NSA, CIA, NI, and FBI that were connected to the revelations by Edward Snowden. Michael S. Rogers has been Director of the National Security Agency (NSA), Commander of the U.S. Cyber Command, and Chief of the Central Security Service since April 3, 2014.
The photos were found by monitoring public internet platforms for selfies and images from informal situations posted without the officials’ control. The images were then reproduced using the HD Stencils street art technique and disseminated on public walls in major cities. The artwork satirizes the era of omnipresent surveillance and overly mediatized political figures by exposing the key officials responsible for secret mass surveillance and highly classified intelligence programs. This artwork integrates new modes of circulation, appropriation, contextualization, and technical reproduction of images.
Work on deposit from LaAgencia Collection.