︎‘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,
    Switzerland (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,, (USA) & (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


︎’Perception Is Reality’
   by Franziska Nori, published by Frankfurter Kunstverein, Frankfurt am Mein (DE)

︎’Vue de dos - Images à contre-courant’,
    by Isabelle de Longrée, Le Delta, Namur (BE)

︎’Fotografie Heute - Resistant Faces’,
    by Jana Haeckel, Pinakothek der Moderne, Munich (DE)

︎Artist E-Book Esther Hovers - Circulation(s), Tribew Publishers, Paris (FR)

︎‘False Positives’, Esther Hovers, Selfpublished, the Hague (NL)

︎Startpoint Prize 2015, catalogue (CZ)

Academic Texts

︎'The Aesthetics of the Hidden.
    Visualization of Surveillance-Dispositives in Artistic Positions of Jill Magid, Esther Hovers and Trevor Paglen.'

     Master Thesis by Julia Latzel, University of Hildesheim (DE).

︎'Algorithmic Visuality and the Remaking of Urban Everyday Life',
    Essay by Sarah Al-Dahir, UvA, University of Amsterdam (NL).

︎'Algorithmic Visuality and the Remaking of Urban Everyday Life',
    PhD by Thomas Mayer-Lemieux, National Institute for Scientific Research (INRS), (CA)

︎'A Place Like All Others: Picturing Global Capital in Urban Space',
    Master Thesis by David Flood, Institute of Art, Design and Technology Dún Laoghaire (IE)

︎Facing Surveillance: On Artistic Explorations of Biometric Technologies,
    Master Thesis by Rosa Wevers, Utrecht University (NL)

Video / Audio

︎'Webinar Esther Hovers - Macht en Poëzie van Technologie,
     Interview Beeldvoorziening by Simone Henken (NL).
︎'An interview with Esther Hovers / Artist and Photographer‘,
     Interview by Josh Croll for Boxed Off (SCH).
︎'#6 - Tussen videokunst en surveillance camera',
     Kunstmatig de Podcast by Rosa Wevers / Veerle Spronck (NL).
︎'Podcast Mens met Esther Hovers’,
     Interview by Sander Pleij for Vrij Nederland (NL).
︎'Out Of Focus’,
     Documentary on art in times of Corona, directed by Maarten de Kroon (NL).

︎'Interview – In Times of Corona’,
     Interview met Naomi Moonlion for the exhibition ‘Capturing Corona’ at Stroom (NL).

︎'Anonym war Gestern: Für ein projekt der KulturRegion Stuttgart steht die Villa Merkel “Unter Beobachtung”,
     Interview for German Telivision, SWR2 (DE).

︎'Exposition – Le prix de notre liberté de pensée’,
     Centre d’Art GwinZegal for French Telivision, France 3 Bretagne (FR).

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© 2021 Esther Hovers –

© 2021 Esther Hovers