"Where To Invade Next is an expansive, hilarious, and subversive comedy in which the Academy Award®-winning director, playing the role of 'invader,' visits a host of nations to 'steal' some of their best ideas and bring them back home to the U.S. of A."
"The film as shown here plays in 'actual time', slowing down the hyper, 16 minutes cut to a more deliberately paced 21+ minutes. The image is less contrast-blown than any version I have seen, not to mention that it is no longer heavily cropped. The score, too, is different, dropping the now iconic tango back-and-forth with Wagner, with just a straight run through the Wagner."
(Blake Williams, 22 February 2011)
"The Snowden leaks, first published in June 2013, provided unprecedented insights into the operations of state-corporate surveillance, highlighting the extent to which everyday communication is integrated into an extensive regime of control that relies on the 'datafication' of social life. Whilst such data-driven forms of governance have significant implications for citizenship and society, resistance to surveillance in the wake of the Snowden leaks has predominantly centred on techno-legal responses relating to the development and use of encryption and policy advocacy around privacy and data protection. Based on in-depth interviews with a range of social justice activists, we argue that there is a significant level of ambiguity around this kind of anti-surveillance resistance in relation to broader activist practices, and critical responses to the Snowden leaks have been confined within particular expert communities. Introducing the notion of 'data justice', we therefore go on to make the case that resistance to surveillance needs to be (re)conceptualized on terms that can address the implications of this data-driven form of governance in relation to broader social justice agendas. Such an approach is needed, we suggest, in light of a shift to surveillance capitalism in which the collection, use and analysis of our data increasingly comes to shape the opportunities and possibilities available to us and the kind of society we live in."
(Lina Dencik, Arne Hintz and Jonathan Cable, 2016)
"Download Finished was an online ressource which transformed and re-published films from P2P networks and online archives. Found footage became the rough material for the transformation machine, which translated the underlying data structure of the films onto the surface of the screen. The original images dissolved into pixels, thus making the hidden data structure visible. Through Download Finished, file sharers became authors by re-interpreting their most beloved films. ...
Download Finished questions the relationship between the original and its copy in a digital environment. It deals with questions arising from the cultural practice of file sharing (and the breakages and voids it makes evident within the copyright system)."
'Paradise' was commissioned by the MOTI Museum in The Netherlands for the exhibition New Delights, which is part of the Hieronymus Bosch 500-year anniversary. A gigantic video installation of this work is exhibited in the Museum until the 31st of December 2016.