Esther Hovers
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Vostok Magazine 45호_시선에 관하여 / Number 45 About Looking
Esther Hovers, published by 보스토크 프레스 / VOSTOK PRESS (KOR)
‘No. 11 Carnet du Bal - L'image à l'épreuve des machines. Reconfigurations du visible’
Emmanuel Alloa, published by Les Presses du Réel, Paris (FR)
‘Data Streams: Art, Algorithms and Artificial Intelligence’
Fiona Hallinan, published by Camera Austria 157, 2022, Graz (AT)
‘Data Streams, Glucksman Gallery, Cork’
Chris Hayes, published by Art Monthly Issue 454, London (UK)
‘Maschinenbuch - Eine Sammlung zur Kultur- und Kunstgeschichte der Apparate.’
Gottfried Hattinger, published by Scheidegger & Spiess, Linz (AT)
‘Future of the Image: Why Disappearing Pictures?’
Esther Hovers for Why Pictures?, Warsaw (PL)
‘New Photography : Create, Collect, Compile at NOMA’
Bex Ya Yolk for BURNAWAY, Atlanta, Georgia (USA)
‘The Politics of Training Data’
Ann-Christin Bertrand for Automated Photography, ECAL Lausanne, (CH)
‘Beyond the Visible: The Hidden Structures of the Street’
Sophie Wright for Lens Culture (NL)
‘False Positives’
Sophie Wright for Open! Platform for Art, Culture & The Public Domain (NL)
‘Traveling Salesman’,
Katherine Adams for Nowhere Collective (NL)
‘Elisa Gutiérrez Eriksen on The process of calculating one’s position at NARS Foundation’, By Etty Yaniv for Art Spiel (USA)
‘Calcular mi posición en Sunset Park’,
Daniel G. Campos for Vice Versa Magazine (USA)
‘A Wide Spectrum of Ideas and Artist Studios in Brooklyn’s Sunset Park’,
Alissa Guzman for Hyperallergic (USA)
'Gazing Back at the Surveillance Cameras That Watch Us',
Jordan Teicher for The New York Time Blog 'Lens', (USA)
'Urban Algorithms', Portfolio Feature, Aesthetica, Issue 84 (UK)
'Esther Hovers Recreates Scenes Of Suspicious Behavior To Question Surveillance In Society', by Stephanie Wade, IGNANT Magazine (DE)
'False Positives' Brian Huang for The Big Issue Taiwan (TW)
'Un Monde Veilleur', by Clementine Mercier, Libération (FR)
‘Anomali önleyici olarak mimarlık’, Güray Oskay, Art Unlimited (TR)
Raw View Magazine, False Positives (FI)
‘Whose Future?’, Annette Hans, No. 24, BE Magazine (DE)
Corps du Pouvoir, Exhibition text for Centre d’Art Dominique Lang,
Sofia Eliza Bouratsis (LU)
‘Sublime vs. Terror / Ruins Act2’, Vassilis Alymaras,
STUDIO magazine #11_ Terrific (IT)
Invisible Culture Issue 25: Security and Visibility, Rochester University, NY (USA)
‘Revenu universel : une idée qui travaille la gauche’, Luc Peillon, Libération (FR)
‘Hoe je je wél aan goede voornemens kunt houden’,
Bregje Hofstede, De Correspondent, (NL)
Esther Hovers : False Positives,
Suzanne Tromp, This Works (Wetransfer Art Platform), (NL)
‘Présumés Suspects’, Juliette Briancard, M, (Le Monde Magazine), (FR)
‘Structures of Power - On the works of Esther Hovers’, Start Point Prize, (CZ)
‘Visions d’Europe’, Claire Guillot, Le M, (Le Monde Magazine), (FR)
‘Lightbox’, Cecilia Mussi, Pagina99 (IT)
‘Smarter Cities’, Regine Buschauer, POP Kultur und Kritik #7 (DE)
’Tendances - Flagrants Délits’, Luc Briand, Courrier International (FR)
‘False Positives’, Sophie Wright, Weird Science Issue,
The British Journal of Photography (UK)
‘Photos show what crime looks like before it happens’,
Ana Swanson, Washington Post (USA)
‘False Positives’, #09, Control, YET Magazine (CH)
‘Can You Spot the Suspicious Behavior In These Photographs?’
Laura Mallonee, Wired.com, (USA)
‘この12枚の写真には「監視カメラに疑われる行動」が写っています’
Laura Mallonee, Wired.jp (JP)
‘De waakhond van de geheime diensten wil door kunnen bijten,
maar heeft er de tanden niet voor’, Maurits Martijn, De Correspondent (NL)
YET Archive book, Edited by Salvatore Vitale (CH)
‘Bij je moeder op de bank anders zijn dan bij je vrienden in de kroeg.
Dat is echte privacy.’ Maurits Martijn, De Correspondent (NL)
‘Rennen, opsplitsen, stil staan’, In Beeld, NRC Next (NL)
‘Met een verrekijker om de nek langs de talenten’ Parool (NL), Jan Pieter Ekker.