Trevor Paglen

New York

8 Sep
21 Oct

Two recent conferences at MIT and the New Museum reveal the benefits, and pratfalls, of art and science collaborations

Alison Knowles and Pauline Oliveros, Brahms was a two-penny harlot, c.1970, postcard

From Beethoven's lesbianism to the precarious foundations of political philosophy: what to read this weekend

Courtesy: the artist

Choose a single object of special significance from your working or living environment: models of USS Jimmy Carter

Dominique Lévy Gallery is set to expand as Hong Kong’s Tai Kwun arts complex suffers a partial collapse

Thomas Demand, the FM Center for Contemporary Art and the changing landscape of Milan's art scene

Ann Goldstein moves to Chicago and Pussy Riot are set to unite with Tania Bruguera: a look at the latest headlines

Trevor Paglen, Trinity Cube, 2015, irradiated glass from the Fukushima Exclusion Zone, Trinitite, 20 x 20 x 20 cm

Various venues, Fukushima & Watari Museum, Tokyo, Japan

Talks

A keynote lecture from the New York-based artist Trevor Paglen, followed by a Q&A with Omar Kholeif

Trevor Paglen, National Geospatial-Intelligence Agency, Springfield, Virginia, 2013, c-type print, 46 × 69 cm

Kunsthalle Düsseldorf, Germany

Todd Eberle, (Untitled) IBM 1620 Data Processing System, 1968, 1999, photograph. Courtesy: © Todd Eberle

Algorithms, Big Data and surveillance: what’s the response, and responsibility, of art?

Trevor Paglen, Untitled (Reaper Drone), 2010, c-type print, 1.2 × 1.5 m. Courtesy: the artist, Altman Siegel, San Francisco, Metro Pictures, New York, and Galerie Thomas Zander, Cologne

What do drones see? And how can we see them?