Vision

Among the various property security measures, surveillance using closed-circuit television cameras is one of the most common in museums and cultural centers. This measure is not only limited to this field, but to the broad spectrum of private and public property security measures in various areas. A very common example of this is the classic "Smile! You're being filmed."

One of the prerequisites for adopting this security measure is the need to have a broad and total view of the space to be safeguarded. This is because asset surveillance works in a preventive and systemic way to protect and preserve environments. We have this technological apparatus of surveillance through cameras, but also the person who interprets this data and acts directly in its instrumentation, the security guard; who can be physically in the space being filmed or in another space, who receives the images of the safeguarded place.

Thus, it is through ostentatious vision and observation that property security acts preventively. Here we can bring in the concept of the panopticon and Michel Foucault's reading of it. Briefly, the panopticon is an architectural surveillance structure that makes it possible to view an entire region in need of observation using the minimum of human resources. In the classic example, a single guard is able to observe all the prisoners, without them knowing if this is actually happening. Foucault will read that this structure produces an important state in people's subjectivity, which is the constant feeling of surveillance and the perpetuation of the power structures. Beyond the action itself, it provokes in people a state of permanent vigilance, even if the structure is no longer in operation - "Smile! You're being filmed."

Vision‘s goal is this. The direct relation between the camera and the security guard's eyes – placing these two surveillance figures pointing at each other. Two ostentatious observation devices. From this confrontation, a moving image will be produced – the security guard's eyes captured by the camera. This image will be broadcast on a large television installed at the exhibition space. Two big eyes will confront the audience in this place. Two eyes that may or may not be watching. Is it possible to establish this state of surveillance just by transmitting his gaze? It is important to remember that this look, transmitted, will always be a look from the past, seen by the audience of the present, due to the delay in capturing and transmitting of the camera.

A security guard seated. Facing him, a camera filmed his eyes. A camera on a large television next to him. The camera footage broadcast to television, showing his watchful eyes.

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