Mari Bastashevski

“it’s Nothing Personal”

In this project,  “ it’s Nothing Personnal” , Maria Bastashevski likes to come to the question of Big Data and the commercialization of state surveillance.

When we address big data interception issues today we usually talk about Facebook, Icloud and Citizen 4; but we rarely talk about is the multibillion-dollar industry. In the past decade, the indutry that satisfies governments’ demand for surveillance of mass communications has skyrocketed. Forged SSL certificates and HTTP aggregators allow state agencies ta stand between the server and the user, and collect user names, passwords, and trace their movements across cyberspace. Governments and companies can seamlessly and remotely insert eavesdropping viruses into mobile phones and computers. Citizens’ information is sometimes used as currency by the states. It consists of photographs planned in over 15 different countries, a cache of promotional material obtained by the artist over the years, customer ticket supports, and a record of the correspondence between the artist and the companies and state entities that ensued during the making of this project.

 

  • Trovicor, Zurich Switzerland 2015
  • “Endance” Cambridge UK, 2015.
  • “NeoSoft” Zurich, Switzerland 2015

 

PP_MariB

 

Biographie

Danemark

Born in Saint Petersburg in 1980. Based in Switzerland.

My work is spread across investigative research, journalism, and art. It’s an attempt to challenge existing information delivery modes and bridge between these practices. My ongoing project “State Business”, launched in 2010, focuses on the international conflict and mass interception industry, its participants, and layers of state secrecy under which these operate.

In addition, I’m working on two parallel projects “It’s Nothing Personal,” about the coorporate branding of companies selling spy technologies to state officials and “Empty, with a whiff of blood and fumes,” a work that addresses the nexus of money, power, and organised crime in Ukraine in building to the 2014 hybrid war.

Between 2007 and 2010, I’ve worked in the Russian North Caucasus on “File-126,” a project about the abductions of civilians under the guise of Russian counterterrorism regime.

I’m trained in art history and political science

 

Exhibition Area : Maison de l’Agglomération