In a surveillance state, the government engages in pervasive surveillance of its citizens and visitors to identify problems, to head off potential threats, to administer and to deliver social services.

Worldwide, the amount of data is growing by 61% per year and it is expected to reach 175 zettabytes (or 175 trillion gigabytes) by 2025, more than five times the amount of data produced in 2018.

By 2025, 75% of the population will be connected, creating and interacting with data.2

When the Berlin Wall crumbled three decades ago, there were only 15 border walls in the world. Today there are 70, with 7 more proposed or in progress.3

Ordet presents HOMELAND, an exhibition that takes its lead from Berlin Lights (1994) by Hermann Pitz (Oldenburg, Germany, 1956), a ready-made installation composed of seven functioning lights from the Berlin Wall, loaned from Collezione La Gaia.

The project reflects on the physical, rhetorical and ideological impact of borders and the growing pervasiveness and sophistication of the systems put in place to monitor, surveil, and control the movement of people, goods, and information.

A program of film and video screenings selected by Ordet’s development committee members, curators and artists, accompanies the installation: these works explore notions of borders, surveillance, technology, information and data mining, alongside the political, social and personal implications of such infrastructures.

The program features works by Chantal Akerman, Yuri Ancarani, Zach Blas, James Bridle, Simon Denny, Mohammad Eltayyeb, Harun Farocki, Michael Klier, Lydia Ourahmane, Jon Rafman, Hito Steyerl, Surveillance Camera Players, James T. Hong, Amalia Ulman, Xu Zhen, Andrea Zittel. The calendar of video screenings will be announced through the website.

HOMELAND also presents We all saw this coming, a glimpse of the holdings of the Canadian Centre for Architecture (CCA). The display — curated by CCA — suggests an exploration of seminal investigations on the development of city control technologies combining studies on TV security cameras to be used on construction site by architect Cedric Price (1971) and a series of New York maps produced by Surveillance Camera Players at the end of the 1990s that were included in the exhibition Actions — What you can do with the city (2008). The city of New York — and specifically Times Square — represents one of the first public spaces in the world to have adopted massive use of surveillance cameras to reduce crime rate. We all saw this coming.

1 Facebook Luleå Data Center
2 IDC “Data Age 2025” White Paper, 2018
3 Elisabeth Vallet, Borders, Fences and Walls (London: Routledge, 2018)

Video program

July 9—11

Simon Denny
Real Mass Entrepreneurship, 2017, 14:23
Courtesy the artist; Galerie Buchholz, Berlin/Cologne/New York; T293, Rome; Petzel, New York; Michael Lett, Auckland; Fine Arts, Sydney; Altman Siegel, San Francisco

Surveillance Camera Players
Documentation of the performance George Orwell's 1984, 1998, 5:55
Courtesy the artists

Amalia Ulman
Buyer Walker Rover Aka. Then There (Yiwu), 2019, 15:18
© Amalia Ulman. Courtesy the artist and Wuzhen International Contemporary Art Exhibition

July 12—13

Zach Blas
CONTRA-INTERNET: JUBILEE 2033, 2018, 30:52
Courtesy the artist

James T. Hong
Surveillance of a Camp in Spring, 2010, 6:30
Courtesy the artist

July 16—17

Harun Farocki
Prison Images, 2000, 60:37
© Harun Farocki, 2000

July 18–19

Xu Zhen
18 Days, 2006, 23:56
Courtesy the artist and ShanghART Gallery, Shanghai

Mohammad Eltayyeb
On going, 2019— , 8:36
Courtesy the artist

Lydia Ourahmane
Haraga (The Burning), 2014, 3:37
Courtesy the artist

July 23—24

Chantal Akerman
D’Est, 1993, 67:00
Courtesy Fondation Chantal Akerman / CINEMATEK, Brussels

July 26—27

Hito Steyerl
The Empty Center, 1993, 61:50
Courtesy the artist and Andrew Kreps Gallery, New York

September 4

Michael Klier
Der Riese, 1983, 82:25
© Michael Klier

September 5

Andrea Zittel
Small Liberties, 2010, 25:02
Courtesy the artist and Massimo De Carlo, Milan/London/Hong Kong

September 6—7

Jon Rafman
You, The World and I, 2010, 6:24
Courtesy the artist

James Bridle
My Delight on a Shining Night, 2018, 32:00
Courtesy the artist

September 11—14

Yuri Ancarani
RIO GRANDE. Postcards from the Border, 2017, 11:00
Courtesy the artist and ZERO…, Milan

Opening times

July 9—3, from 12—7 pm
July 16—19, from 12—7 pm
July 23—26, from 12—7 pm
September 4—7, from 12—7 pm
September 11—14, from 12—7 pm


John Knight
Another work in situ
June 5 — 30, 2019

John Knight
A work in situ
May 5 — June 1, 2019

We are closed Saturday June 15


Johannes #1: JK

John Knight speaks about surf culture and Vietnam, Los Angeles, big words, and one long unrealized project.

Johannes is a series of podcasts edited by Chiara Costa that runs in parallel with Ordet’s program. It is named after Dreier’s movie central character, who goes insane studying Søren Kierkegaard and wanders around condemning the lack of faith of his times—until a miracle happens.

Thanks to: Andrea Conti.