“The crowd is his element, as the air is that of birds and water of fishes. His passion and his profession are to become one flesh with the crowd. For the perfect flâneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, and in the ebb and flow of movement, in the midst of the fugitive and the infinite. To be away from home and yet to feel oneself everywhere at home; to see the world, to be at the centre of the world, and yet to remain hidden from the world—impartial natures which the tongue can but clumsily define. The spectator is a prince who everywhere rejoices in his incognito.” (Baudelaire, 1964) [1]

Traditionally privacy is regarded as a state of social withdrawal in which one is not observed or disturbed by public attention and has the right to decide what information about oneself should be communicated to others and under what conditions. However, the desired level of privacy may vary in response to different individual circumstances and cultural environments. 
It was with the rise of Modernity that socially accepted confines between the public and private spheres started to become blurred and undermined. In fact, the context of the overwhelming industrialised metropolis signified an important threat to the privacy of individuals, whilst at the same time it provided the perfect camouflage for the character of the flâneur, anonymous observer of the modern experience, keen explorer and stroller of the city.
Moving on towards the era of Post-Modernism, society has been consequently undergoing some major cultural and economic changes, brought mainly by the new globalised economy and the neoliberalism ideology. At the forefront of these changes is the fast growing privatisation of the public realm. In the ultimate post-modern city, the urban environment has been stereotyped as one of segregation and fear, surveillance and control, thus sabotaging the privacy of individuals.
For the Privacy chapter of LIMITACTION, the transparent surfaces of the Window Space empower the artist to play with the notion of ‘man of the world, man of the crowd’, questioning the borders between the public and the private fields. By replicating and recreating the street environment inside the Window Space, the artist plays with the perception of privacy in a publicly visible space. 

Curated by Stefania Sorrentino

[1] Baudelaire, C., (1964), ‘The Painter of Modern Life and Other Essays’