FACELESS part II

28.09. bis 24.11.2013 // Di bis So 13 bis 19 Uhr freiraum quartier21 INTERNATIONAL // MuseumsQuartier Wien www.quartier21.at // Eintritt frei

EINTRITT FREI

VORWORT FOREWORD FACLESS part II We want to be recognized and understood GUIDED TOURS In Brush Strokes for Freedom Adam Harvey Sehr geehrte BesucherInnen! Dear Visitors, without ever losing face. with the artist/curator Bogomir Doringer* shows how with make-up and clothes Das Ausstellungsprojekt verfolgt ein Phäno- Info and registration: [email protected] the current facial recognition of video Ver- und Enthüllung sind Begriffe, die in der Concealing and revealing are terms that men, das widersprüchlich anmutet. Wir Part two of the project focuses on works Language: English surveillance can be tricked. Medienberichterstattung der letzten Monate have been getting a lot of mention in media ComputerbenutzerInnen und User, die wir that show us various ways of appearing in Guided Collectors’ Tour & Reception In collaboration with quintessenz oft zu lesen waren. Im realen wie im virtuellen reporting in recent months. In real and virtual uns im digitalen Raum verständigen und the neverending book of faces while evading with artist/curator Bogomir Doringer* Raum manövrieren wir uns durch Anonymi- space, we maneuver through anonymity austauschen, sind dort in alle Ewigkeit any tracking and measurement. The desire during VIENNA FAIR with playwright Biljana Srbljanovi c´ tät und Überwachung und befinden uns auf and exposure, and at every step and wiederzufinden. Unser virtuelles Erscheinen to not be simply consumed and digitally featuring masks by artist Jelena Miskovic* November 15, 19:00 „Schritt und Klick“ mitten in der politischen click find ourselves in the midst of the unterliegt dabei einem Prozess, in dem Bilder processed in a facial sellout is more than just October 13, 19:00 Diskussion um den gläsernen Menschen. political discussion revolving around mass ständig gefiltert und manipuliert werden. a purely aesthetic undertaking. With sharp Limited capacity VIENNA ART WEEK surveillance. Man ist wahrzunehmen und will dennoch wit and justified anger, the works exhibited Online registration required: SYMPOSIUM Im zweiten Teil der Ausstellung FACELESS nicht wiedererkennbar sein, sich nicht so demonstrate concrete recommendations and www.viennafair.at/vip Performance with artist Andrew Newman* geht es daher umso politischer zu. Etwa This is why the second part of the exhibition ohne Weiteres einer unüberschaubaren critical methods that can help us succeed November 21, 22 & 23, 17:00 wenn die Künstlerin Jill Magid nieder­ FACELESS is even more political than Öffentlichkeit ausliefern. Man möchte erkannt in maintaining privacy, intimacy, and secrets WORKSHOPS In The old in out in out Andrew Newman ländische Spione porträtiert oder Andrew the first. Examples include artist Jill Magid’s und verstanden werden und dabei nie das even in the face of the all-too public world Information and registration: [email protected] performs the role of a faceless bureaucrat Norman Wilson aufdeckt, dass der größte portraits of Dutch spies and Andrew Gesicht verlieren. of the web. A face and an expression can doing knowledge work. He applies value Suchmaschinenanbieter der Welt auch Norman Wilson’s uncovering of the fact give away too much about us. But all the Hey You with the Awesome Face to blank sheets of paper, stamping them „Arbeiter vierter Klasse“ beschäftigt. Adam that the largest search engine in the world Im zweiten Teil des Projekts sind nun more creative are the means to change these with artist Jeremy Bailey* and shuffling them between inboxes and Harvey‘s Stealth Wear, eine Tarnkleidung, also employs what are called fourth class Arbeiten zu erleben, die unterschiedliche only seemingly defined surfaces, make them for 12 to 18 year olds outboxes. It is evident from this action die vor Überwachung schützen soll, kann workers. Adam Harvey’s Stealth Wear, a line Möglichkeiten aufzeigen, wohl im unendli- illegible or even invisible without running October 19, 11:00 –17:00 that Newman does nothing useful; a toxic hier als mediale Brücke zu Ari Versluis und of camouflage clothing designed to protect chen Buch der Gesichter zu erscheinen und the risk of suffering social death and ceasing Location: Foyer Arena21, quartier21/MQ asset, worthy of liquidation. Ellie Uyttenbroeks Fotoprojekt gesehen the wearer from surveillance, can be viewed sich dabei jeglicher Erfassung und Vermes- to appear in this world. Learn how to take creative control of your werden. Es zeigt, wie Individuen verschie­ as a media bridge to Ari Versluis and Ellie sung zu entziehen. Der Wunsch, in einem face on the internet to win friends and Lecture with journalist and art critic dener sozialer Gruppen gesichtslos werden, Uyttenbroek’s photographic project showing facialen Ausverkauf nicht einfach konsumiert The works and projects presented are also influ­ence people. This workshop will walk you Josephine Bossma* weil sie sich in Haltung und Dress Code how individuals from individual social groups und digital weiterverarbeitet zu werden, media policy interventions and instructions through the creative theory and tools neces- November 21, 19:00 gleichen. become faceless because they resemble bleibt dabei nicht allein ein ästhetisches on how to manipulate our appearance to sary to hijack your webcam, use live image Living in the flickering spotlights of social each other in attitude and dress code. Unterfangen. Die ausgestellten Werke escape being identified beyond our control processing software to augment your identity, media makes us not only vulnerable to the Beim Besuch des freiraum quartier21 zeigen – mit scharfem Witz oder auch and yet not give up our own identity. and stream the result as a performance gaze of others, but it also enforces a stark INTERNATIONAL/MQ sind Sie selbstver- Needless to say, when you visit freiraum gebotener Wut – mit konkreten Vorschlägen online – or maybe just impress your friends. form of self-reflection. In her talk entitled ständlich keinem Dress Code unterlegen. quartier21 INTERNATIONAL/MQ you are not und kritischen Methoden, wie es gelingen In an exemplary contribution to the exhibition, Hiding in Plain Sight she examines how Trotzdem wollen wir Sie einladen, das subject to any dress code. Still, we would mag, in der allzu überschaubaren Öffentlich- artist, activist, and researcher Zach Blas FACELESS and „Urban Man“ specific tools are an intrinsic part of the Maskentragen in Betracht zu ziehen. Wer like to invite you to consider wearing a mask. keit des Netzes dennoch Privatheit, Intimität formulates a communiqué in which he makes at the Social Design Department – way we see and represent ourselves, and sich im ersten Teil der Ausstellung mit einer If you had yourself photographed wearing und Geheimnisse zu bewahren. Ein Gesicht it clear that a face can also be used as a University of Applied Arts Vienna how we aid in the construction of our own der „Zensurbalkenbrillen“ der Künstlerin artist Addie Wagenknecht’s “censor bar und sein Ausdruck mögen vielleicht ver­ weapon. He opposes the fact that biometric with artist/curator Bogomir Doringer* vulnerability. Examples of the work of various Addie Wagenknecht abbilden ließ, konnte glasses” in part one of the exhibition, you’ve räterisch sein. Doch als umso kreativer data is used to deduce sexual orientation or October 21,18:00 (lecture) artists show the need and possibility to bereits erste Erfahrungen mit der Anonymität already had a little taste of online anonymity. stellen sich auch die Möglichkeiten heraus, ethnic backgrounds from facial features and October 22 & 23, 10:00 –17:00 (workshops) playfully or critically adapt, subvert or modify (im Netz) sammeln. Auch im zweiten Teil You will have an opportunity to mask and diese nur scheinbar eindeutigen Oberflächen hence create categories of marginalization Location: 1030 Vienna, Vordere everyday media environments. wird es Möglichkeiten zur Maskierung und disguise yourself in the second part as zu verändern, unleserlich, ja unsichtbar zu and defamation. The artist developed Zollamtsstraße 3, Studio on ground floor Verhüllung geben. well. We also want to inform you that this machen, ohne dabei Gefahr zu laufen, einen a digital mask composed of facial features In collaboration with University of Applied Presentation with game designer exhibition invites you to not only observe, sozialen Tod zu erleiden und gar nicht mehr from many people. Collective overinformation Arts Vienna, Department Social Design and net activist Wolfie Christl Überhaupt wollen wir Ihnen mitteilen, dass but also participate: American artist Zach vorzukommen in dieser Welt. becomes an instrument against the violence November 21, 19:30 diese Ausstellung nicht nur zur Rezeption Blas, for instance, explains how to deal with of invasion for surveillance purposes. CV Dazzle Makeover Machine What if you had control over millions einladet, sondern auch zur Partizipation face recognition, and German conceptual Die präsentierten Arbeiten und Projekte with artist Adam Harvey* of Internet users’ personal information? auffordert: Der US-Amerikaner Zach artist Aram Bartholl teaches how you can verstehen sich auch als medienpolitische The exhibition supplies at an once defiant for all ages Ever wanted to run your own Tracebook & Blas beispielsweise klärt auf, wie man make your own Guy Fawkes mask, a key Interventionen und Anleitungen zur Manipu- and ironic bid against a dynamic force that October 26, 12:00 –17:00 Smoogle? Presentation of Data Dealer – Gesichtserkennung umgeht und der accessory of protest. lation, um sich unkontrollierbarer Erfassung has long ago infiltrated our lives and that we Location: Foyer Arena21, quartier21/MQ an online game about personal data, deutsche Konzeptkünstler Aram Bartholl zu entziehen, ohne die eigene Identität inevitably feed. But it’s not too late to resist. Workshop on how to hide from face surveillance and privacy. gibt weiter, wie man eine Guy-Fawkes- So FACELESS part II is an encouragement aufgeben zu müssen. detection with CV Dazzle techniques, Maske, das Accessoire des Protests, selbst for you to deal with your own face. But Brigitte Felderer teaming up with some local makeup artists Lecture with curator and writer Isin Önol herstellen kann. instead of beauty tips, you’ll get a simple In einem exemplarischen Beitrag zur University of Applied Arts Vienna and hair stylists to offer people makeovers. November 21, 19:45 message in a complex form, because more Ausstellung formuliert der Künstler, Aktivist Hidden Faces: Strategies of Hiding oneself Insofern ist FACELESS part II eine Anregung than 40 international artists speak all kinds und Theoretiker Zach Blas ein Kommuniqué, lookalike with artist Marco Pezzotta* in Protests explores the diverse strategies sich mit Ihrem eigenen Gesicht auseinander- of languages from an artistic perspective in dem er klarmacht, dass ein Gesicht auch DATES for 4 to 14 year olds used to hide and reveal oneself with a focus zusetzen. Anstatt beauty-Tipps erhalten as well. The message is: REVOLUTION IS als Waffe eingesetzt werden kann. Er wendet All events are free of charge October 26, 11:00 –16:00 on the use of mask in #occupygezi (Istanbul) Sie jedoch eine simple Botschaft in kom­ FACELESS. sich gegen die Verwendung biometrischer Location: Foyer Arena21, quartier21/MQ protests. plexer Form, denn über 40 internationale Daten, um von Gesichtszügen auf sexuelle Exhibition Opening A performative work/game about the KünstlerInnen sprechen auch künstlerisch Dr. Christian Strasser, MBA Orientierung oder ethnische Zugehörigkeiten September 27, 19:00 con­struction of alter-egos and collective Lecture with artist Alberto de Michele* die verschiedensten Sprachen. Die Botschaft Director, MuseumsQuartier Wien zu schließen und so letztendlich Kategorien Special Screening of William Basinski’s identity. November 21, 20:30 lautet REVOLUTION IS FACELESS. der Ausgrenzung und Diffamierung zu Disintegration Loop 1.1 Talk on his recent project schaffen. Der Künstler entwickelte eine Performance Face Shift by Arthur Elsenaar* In cooperation with Bund Europäischer QUIEN LO VIVE QUIEN LO GOZA – Dr. Christian Strasser, MBA digitale Maske, die sich aus den Gesichts­ DJ-Set: Igor Sleep & KeinDJ Jugend/Junge Europäische Föderalisten LA MASCARA DE LA MALDAD, Direktor MuseumsQuartier Wien zügen vieler Menschen zusammensetzt. Visuals: Incredible Bob Miloshevi c*´ (BEJ/JEF) (LIVE IT TO ENJOY IT – THE MASK OF EVIL). Die kollektive Überinformation wird hier zu Herzlichen Dank an einem Instrument gegen die Gewalt eines Opening After Party LECTURE PERFORMANCES VIENNA ART WEEK – alle beteiligten Künstlerinnen und Künstler erkennungsdienstlichen Zugriffs. September 27, 23:00 (limited capacity) with artist Jeremy Bailey* STUDIO VISITS sowie Online TeilnehmerInnen Location: Donau, 1070 Vienna, October 17, 19:00 featuring Alberto de Michele*, Brigitte Felderer und Bogomir Doringer Die Ausstellung liefert gleichermaßen Karl Schweighofer Gasse 10 Presentation of a new face-centric software Tarron Ruiz-Avila* & Zachari Logan* Botschafter Martin Eichtinger, kämpferische wie ironische Ansagen gegen DJ-Set: In Schönheit sterben, performance created and inspired by his November 23, 13:00 Bundes­ministerium für europäische eine Dynamik, die uns längst erreicht hat und Igor Sleep & KeinDJ residency in Vienna. Meeting place: MQ Courtyard 7, Studio 501 und internationale Angelegenheiten With thanks to die wir wohl auch unweigerlich bedienen. Guided tour with cultural journalist Henrik Ahr, Thilo Ullrich und Martin All participating artists and Doch noch ist Zeit zu widerstehen. Duration with artist Jeremy Bailey* Alexandra Matzner Hickmann, Universität Mozarteum Salzburg online contributors September 28 to November 24, 2013 October 18, 19:30 –21:30 Matthias Tarasiewicz, Artistic Technology Brigitte Felderer and Bogomir Doringer Brigitte Felderer Using the master/slave model of ARTISTIC BOKEH SHOWROOM Research (Universität für angewandte Ambassador Martin Eichtinger, Federal Universität fur angewandte Kunst Wien Opening hours communication, where one device or Location: Artistic Bokeh, Kunst Wien) Ministry for European and International Affairs Tuesday through Sunday, 13:00 –19:00 process has unidirectional control over one Electric Avenue, quartier21/MQ Daniel Gerer, Bund Europäischer Henrik Ahr, Thilo Ullrich and Martin October 5, 13:00 – 01:00 or more devices, Jeremy Baileys Master/ Presentation of works in the context Jugend/Junge Europäische Föderalisten Hickmann, Mozarteum University in Salzburg FACELESS part II ORF Long Night of the Museums Slave Invigilator System demonstrates of the FACELESS exhibition. (BEJ/JEF) Matthias Tarasiewicz, Artistic Technology technology that allows him to be everywhere www.artisticbokeh.com Junsuke Yamasaki Research (University of Applied Arts Vienna) The exhibition project explores a potentially Location at once. His slaves will help him invigilate the Heather Kelley Daniel Gerer, European Youth Forum/ controversial phenomenon. As computer freiraum quartier21 INTERNATIONAL/MQ Warrington UK Contemporary Arts Festival PUBLIC SPACE alle Partner und Sponsoren Young European Federalists (BEJ/JEF) users who communicate and exchange 1070 Vienna, Museumsplatz 1 from the safety of the MQ. Location: at the exhibition entrance das quartier21/MQ Team: Junsuke Yamasaki information in digital space, we are eternally This 360 degree surveillance ‘chandelier’ Elisabeth Hajek, Ulrike Fallmann Heather Kelley findable there. Our virtual appearance is Free admission q/Talk entitled Asymmetric Love Number 2 by Addie und Margit Mössmer All partners and sponsors subject to a process in which images are with artist Adam Harvey* Wagenknecht and Stefan Hechenberger The quartier21/MQ team: constantly filtered and manipulated. We are October 29, 19:00 explores the relationship between failure Elisabeth Hajek, Ulrike Fallmann perceivable and yet we do not want to be Location: Raum D / quartier21/MQ and empowerment. and Margit Mössmer recognizable. We don’t want to be delivered Only with the second face in the public. In collaboration with Artistic Bokeh to an unknown public in offhand way. *Artists-in-Residence of quartier21/MQ freiraum quartier21 INTERNATIONAL // MuseumsQuartier Wien 28.09. bis 24.11.2013 // Di bis So 13 bis 19 Uhr // Eintritt frei FACELESS part II

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INTRODUCTION ESCAPING THE FACE One consequence is arrest, as anti-mask ZACH BLAS (US) JILL MAGID (US) ORGANIZER legislation coterminously emerges with such *1981 in Point Pleasant *1973 in Connecticut quartier 21/MuseumsQuartier Wien The premise of this exhibition is to explore In September 2011, as the Occupy Wall events: Canada’s Bill C-309, also known as lives in Los Angeles lives in New York the common occurrence of images of hidden Street encampment at Zuccotti Park the Concealment of Identity Act, took effect www.zachblas.info www.jillmagid.net Artistic Director faces in the creative arts. I first became swarmed with protesters in Guy Fawkes in October 2012, and makes punishable freiraum quartier21 INTERNATIONAL/MQ acquainted with the notion of hidden faces a masks popularized by the hacktivist group those who “wear a mask or other disguise HEIKO BRESSNIK (AT) ALBERTO DE MICHELE (IT/NL) Elisabeth Hajek decade ago, while still in the fashion industry. Anonymous, the New York City Police to conceal one’s identity while taking part *1961 in Villach *1980 in Venice Through my collections I experimented with Department resurrected an 1845 law that in a riot or an unlawful assembly” with up to lives in Vienna lives in Amsterdam Curator covering models’ faces in masks or hair, deemed two or more people wearing masks ten years in prison.2 www.albertodemichele.com Artist Bogomir Doringer thus attempting to make a statement on in public illegal, unless a masquerade party ONDREJ BRODY (CZ) in collaboration with Brigitte Felderer the constant “overdose of beauty” and was being organized. As Occupy protesters A number of feminist, transgender, critical *1961 in Prague JELENA MISKOVIC´ (RS/NL) (University of Applied Arts Vienna) artificiality permeating contemporary society were arrested for “loitering and wearing race, and surveillance scholars establish that & KRISTOFER PAETAU (FI) *1970 in Sremska Mitrovica through the media. This suggested a a mask,” some discovered that they could non-normative, othered, and minoritarian *1961 in Porvoo lives in the Netherlands Curatorial Assistance possible return to masks as a solution potentially be held in jail longer if they did not groups are most acutely and consistently live in Europe Minnie and Aleksandra Sascha Pejovic for covering destabilized identities. agree to submit to an iris scan, while others made vulnerable to policing and discrimi­ www.brodypaetau.com BOB MILOSHEVIC´ (RS) realized that their bail could be affected by nation by biometric authentication, often *1978 in Serbia Exhibition Design Throughout my art studies and practice, whether or not they permitted the NYPD because such machines render them MARK BROWN (NL/GB) lives in Belgrade Students Thilo Ullrich and Martin Hickmann I have been striving to bind together fashion to perform the scan.1 These police actions illegible.3 Non-normative and minoritarian *1977 Den Haag www.vimeo.com/incrediblebob of the Mozarteum University in Salzburg, and art - inspired by sociopolitical investi­ sparked criticism from lawyers, civil liber­ people engaged in political protest against lives in New York Department of stage design, class of gations. After noticing the like-minded tarians, and the public, not only because the workings of neoliberalism find themsel- ANDREW NEWMAN (AU/DE) Henrik Ahr interest in the subject matter, I began to the NYPD used a legally optional iris scan ves caught in a paradox of recognition: they CRACKED LABS (AT) *1983 in Sydney collect a variety of faceless works to try and to set bail and length of time in prison but are exposed to the violence that results from formed in 2011 lives in Berlin and Sydney Copy Editing understand why they exist and what they also because the NYPD gathered biometric failures to be biometrically visualized, and based in Vienna www.anewman.net Belinda Hummel are trying to communicate. data on those who had not been charged or yet, their desires for a transformative politics www.datadealer.com convicted of a crime. Why does the masked exceed claims to legal recognition and BERND OPPL (AT) Translation September 11 and its consequences came protestor pose such a great threat to the gesture against the legacies of surveillance BEN DEHAAN (US) *1980 in Innsbruck Susan Schwarz about in an important phase of my creative state, resulting in the police’s willingness to and control that biometrics propagates. *1987 in USA lives in Vienna development and have had an impact on deploy a 168-year-old law originally designed Such a transformative politics does not lives in Portland www.berndoppl.net Graphic Design my interest on facelessness ever since. It to prevent Hudson Valley tenant farmers ultimately strive for legal recognition because www.bendehaanphotography.com Dorothea Brunialti would be fair to say that this event was one from dressing in disguise and rioting over it validates the very target of resistance. MARCO PEZZOTTA (IT) of the triggers that provoked this tendency debt and eviction? Why does facelessness Within these antimonies of visibility, queer SOFIE GROOT DENGERINK (NL) *1985 in Seriate Exhibition Web Design in my work. The fear of terrorist attacks led fuel the state of New York to surreptitiously defacings occur – both performatively and *1984 in Utrecht lives in Berlin and Bergamo Gerhard Jordan to a change in security concepts and the construct incentives for protestors to willingly utopically – expressing ways to relate, be lives in Utrecht www.marcopezzotta.com installment of surveillance systems in public agree to biometric scans? together, and live that no capitalist state or www.sofiegd.nl Web Page Programmer spaces – presented to us as if for our own biometric can contribute to or foster. RAF SIMONS Mirko Lazovi c´ safety. As a result, we feel that our faces The answer appears to reside in what could DENNATON (JONATAN founded in 1995 are becoming “compressed” and exposed. be called an explosively emerging “global As the face becomes a site of ever increa- SÖDERSTRÖM & www.rafsimons.com Links The only way for us to regain this lost privacy face culture,” exemplified by biometrics and sing control and governance, new ethical DENNIS WEDIN) (SE) www.quartier21.at is through subversive media strategies or by facial detection technologies, driven by ever relations to the face are emerging that *1985 in Göteborg TARRON RUIZ-AVILA (AU) www.mqw.at reinventing privacy. obsessive and paranoid impulses to know, embrace defacement and escape, not *1983 in Västervik *1983 in Brisbane capture, calculate, categorize, and standar­d­ necessarily mutual recognition but collective live in Göteborg lives in Sydney www.facelessexhibition.com Following the events of 9/11, mages of ize human faces. Rooted in commercial, transformation that is both anarchic and www.dennaton.com masked faces of terrorists became dominant state, and military interests, recent forays commonizing. Today, the mask is the most BRYAN LEWIS SAUNDERS (US) The freiraum quartier21 INTERNATIONAL/ in the media; repeated as a ghostly, unknown into facial recognition include the adoption popular implementation of defacement, ARTHUR ELSENAAR (NL) *1969 in Washington MQ series is organized in cooperation with presence that reminds us of the unsafe of biometrics as a security technology for a celebration of refusal and transformation. *1962 in Naarden lives in Johnson City the Austrian Federal Ministry for European time we live in. At the same time, throughout border crossings and visas; the proliferation I suggest that such defacements, in their lives in the Netherlands www.bryanlewissaunders.org and International Affairs and other partners Europe people began to pursue a ban of invasive surveillance cameras in urban refusals of normative identificatory regimes www.artifacial.org from Austria and abroad. on burqas. Events like the murders of Pim settings, such as London’s massive CCTV and utopic expressions, are forms of queer TIM SILVER (AU) Fortuyn and Theo van Gogh in the Nether- network; the growth of biometric marketing illegibility, which I theorize as an aesthetic HRAFNHILDUR *1974 in Hobart ONLINE CONTRIBUTORS lands led to public discussions on the impact that automates personalized advertisements and political practice of anti-normativity GISSURARDOTTIR (IC) lives in Sydney Abbas Noori, Adriana Bogdanova, Alan of Muslim culture – through Muslim minorities based on gender, race, and physical and and anti-standardization at a technical, *1983 in Reykjavík Marcheselli, Amanda Morgan Jansson, – on so-called “western values.” I explored behavioral traits; enormous biometric data global scale that resists the surveillance lives in Berlin MAIKO TAKEDA (JP) Andrea Judit Tiringer, Andreas Messinger, this metaphorically in my graduate work gathering sweeps led by military forces; and identification standardization of emerg­ www.amstel41.info *1986 in Tokyo Anna Meschiari, Anne Brannys, Barbara Deranged, where the artwork and the viewer and the vast array of facial identification ing neoliberal technologies by creating lives in London Loisch, Ben Bibriesca, Bertram List, Billyjane are simultaneously deranged by each other’s and verification platforms found in social amorphous, encrypted, incalculable, ADAM HARVEY (US) www.maikotakeda.com Marinkovich, Brice Chatenoud, Carmen presence. media and consumer markets, from excessive and weird collective stylings *1981 in Pennsylvania Palermo, Christina Phan, Christos Kapralos, Facebook’s auto-face-tagging to the of bodies and environments, with the goals lives in New York ARI VERSLUIS & Christos Tzimas, Darko Taleski, Deborah In addition to the loss of privacy, the rules iPhone’s RecognizeMe application that uses of gaining autonomy and imagining into www.ahprojects.com ELLIE UYTTENBROEK (NL) Kelly, Dejan Bati cevi´ c,´ DIORALOP, Dirk H. of modern technology demand that we be face scanning to unlock phones. In such a existence other worlds beyond measure. *1961 in Rotterdam Wilms, Florian Aschka, Francesca Caraffini, constantly visible. Social networks, initially climate, the very meaning of a face–what it KATSU (US) *1965 in Rotterdam Gregor Wintgens, Heidi Schatzl, Jodi Lynn developed as platforms for communication, is, does, and communicates–is continuously Zach Blas lives in New York live in the Netherlands Concepcion, Joe Sobel, Joline Platje, came to define standards of everyday redefined. Romanticized notions of the Artist, writer, curator and researcher www.fffff.at/katsu www.exactitudes.com Katarzyna Szugajew, Keanoush Da Rosa, activity and lifestyle. They approach us face as primarily qualitative are eclipsed in whose work engages technology, queerness Lique Schoot, Manuel Rodrigues, Marija with the promise of serving as tools for favor of the face as a mode of governance, and politics JAKOB LENA KNEBL & DANIEL VOM KELLER (CH/NL) Sevic, Marta Djekic, Masha, Meo Smeik, self-promotion, then increasingly invade a quantitative code, template, and standard­ THOMAS HÖRL (AT) *1987 in Münsterlingen Michaela Knižová, Michal Rutz, Michela From: Escaping the Face: Biometric Facial Recognition our privacy with our express consent. ized form of measure and management. and the Facial Weaponization Suite, Media-N *1970 in Baden lives in Amsterdam and Zürich Pelusio, Miodrag Guberinic, Nathan Langlois, References: *1975 in Hallein www.danielvomkeller.com Noël M. G. Gaar, Pablo Ravazzani, 1 – Sean Gardiner, and Jessica Firger, Rare Charge Is Unmasked, The unstable identity of the present begs At the intersection of biometrics, govern­ The Wall Street Journal, September 20, 2011, http://online.wsj.com/ live in Vienna Polly Karpova, Raphael Rehbach, Rene for the return of power of the mask from mentalities of the face, and contemporary article_email/ www.jakoblenaknebl.com MARTIN C DE WAAL (NL) Schmalschlager, Sabrina Baruzzi, St.Luke, 2 – The House of Commons, Bill C-309, on Parliament of Canada ancient times, when it was used as a form protest, a global political struggle has website, accessed May 1, 2013, http://parl.gc.ca/HousePublications/ www.slywonski.com *1962 in the Netherlands Stefan Joksic, Stefan Joksic & Milan of protection, disguise, performance, or just ensued over visibility, recognition, and Publication.aspx?Language=E&Mode=1&DocId=5804538. lives in Amsterdam Bogovac, Tonc i Kranjc evi c´ Batali c´ 3 – See the work of Shoshana Amielle Magnet, Simone Browne, ̌ ̌ plain entertainment. representation. In the wake of the Arab Toby Beauchamp, Dean Spade, and Vivian Namaste. MIODRAG KRKOBABIC´ (RS) www.mcdewaal.com and many others. Spring, Anonymous, black blocs, and Pussy *1971 in Kraljevo CREDITS FACELESS is a two-part exhibition exploring Riot, collective masked protests continuously MARTIN BACKES (DE) lives in Belgrade ANNE WENZEL (NL) [EXHIBITION SUJET] Atmospheric Reentry, 2013 © Maiko Takeda, a phenomenon present all around us: the erupt. Time Magazine celebrated this in *1977 in Germany www.krkobabic.net *1972 in Schüttdorf Photo: Bryan Huynh [FRONT PAGE] Dr. Christian Strasser © MQ E+B GesmbH, Photo: Pilo Pichler fashion of “facelessness” that appeared 2011 by naming their Person of the Year lives in Berlin lives in Rotterdam [1] The Inland Printer – 164 © Andrew Norman Wilson, Courtesy of in the creative arts at the beginning of this “The Protester,” depicting an obscured face www.martinbackes.com MATTHIEU LAURETTE (FR) www.annewenzel.nl American Medium, New York [2] NYC Wall, September 11, 2011 © Mark Brown, Courtesy of Cobra to Contemporary collection [3] Fag Face century and has remained popular since on its cover whose eyes are barely visible. *1970 in Villeneuve Saint Georges Mask – October 20, 2012, Los Angeles, CA, from Facial Weaponization then. The exhibition reminds us of the impact More recently, in December 2012, the (CA) lives in Paris (UK) Suite, 2011– present © Zach Blas [4] Bath Salts from series Under the JEREMY BAILEY LUCY WOOD Influence, 2001– present © Bryan Lewis Saunders [5] The Next Day – that media-generated images can have on Zapatista Army of National Liberation *1979 in Toronto www.laurette.net *1969 in Eton David Bowie, Album Cover, 2013 © Jonathan Barnbrook, Courtesy of Sony Music Entertainment / Barnbrook [6] In Your Face, 2007 © Martin the creative arts and the ways in which they organized their largest demonstration since lives in Toronto lives in London C de Waal [7] Feedback, 2012 © Incredible Bob Miloshevi c,´ Photo: respond to public images, pop culture, and their 1994 uprising, with over 40,000 masked www.jeremybailey.net MIRKO LAZOVIC´ (RS/NL) www.lucywood.net Stasha Tomic [8] Still from video installation Apparition: „GUY DEBORD IS SO COOL!, The Today Show, NBC, December 31, 2004, TV set, the mainstream in general. protestors marching throughout cities in *1979 in Belgrade DVD player, articulated wall mount bracket, video transferred onto DVD, Chiapas, Mexico. From such examples, one JONATHAN BARNBROOK (UK) lives in the Netherlands ANDREW NORMAN WILSON (US) duration: 2:30 min., looped, Ed. 3 + II A.P. Courtesy: Matthieu Laurette / www.laurette.net – La Central, Bogota © Matthieu Laurette – ADAGP Bogomir Doringer can claim that political desires abound in for David Bowie www.mirkolazovic.com *1983 in the USA [9] How to Vacuum Form, 2012 © Aram Bartholl, Courtesy of DAM Artist/Curator protest today that stress tactics of escaping *1966 in Luton lives in New York Gallery, Berlin [10] Beat and the Pulse, 2013, Baryt, b|w-photography © Jakob Lena Knebl & Thomas Hörl, Photo: Georg Petermichl forms of recognition-control by abandoning, lives in London THEO-MASS LEXILEICTOUS (CY) www.andrewnormanwilson.com [11] Still from video Woe onto those who spit on the fear generation… The wind will blow it back, RAF SIMONS Spring/summer collection devisualizing, and defacing the face, www.barnbrook.net *1985 in Cyprus showed at Lycée Stanislas in Paris on July 1, 2001, Courtesy of becoming faceless through masking actions lives in London MARCUS ZOBL (US/AT) RAF SIMONS and ModeMuseum Provincie Antwerpen [12] Tonee, 2013, Time Lapse: Ultraviolet Cured Inkjet Print © Ben DeHaan that mutate the face into something else ARAM BARTHOLL (DE) www.theo-mass.com *1971 in Los Angeles [13] ‚Anti-Drone‘ Burqa, 2013 © Adam Harvey / ahprojects.com in entirely. Importantly, while acts of deface- *1972 in Bremen lives in Vienna collaboration with Johanna Bloomfield [14] The Punishment, 2005 © Ondrej Brody & Kirstofer Paetau [15] Nr. 124 The Invisible Men – Evry ment are about a certain kind of political lives in Berlin VANESSA LODIGIANI (MX) www.12-14.org/artist-marcus-zobl (Paris) from series Exactitudes, 2009 © Ari Versluis & Ellie Uyttenbroek refusal and imperceptibility, they are equally www.datenform.de *1977 in Mexico City [16] This is not me, this is also me, 2010 © Vanessa Lodigiani, Photo: Eduardo Dali Reyes [17] Face Shift, 2005 © Arthur Elsenaar [18] Is East concerned with hypervisible collective lives in Berlin London Dead featuring Theo-Mass Lexileictous, Dazed & Confused Magazine, May 2012, © Theo-Mass Lexileictous [19] Still from Colours transformation. Yet, as protestors resist WILLIAM BASINSKI (US) www.vanessalodigiani.com of the Spectrum, 2010 © Jeremy Bailey, Courtesy of Pari Nadimi political visibility with masking and defacing *1958 in Houston Gallery, Toronto [20] Pixelhead limited edition, 2012 © Martin Backes [21] Hotline Miami, 2013 © Dennaton (Jonatan Söderström & Dennis tactics, what are the ramifications for being lives in California Wedin), Illustration: Niklas Åkerblad [22] Untitled (bust) (Pine Timber- non-visualizable to biometric technologies? www.mmlxii.com mate Woodfiller) (solo), 2011 © Tim Silver, Courtesy of Breenspace, Sydney [23] Status Update, 2013 © KATSU [24] SKILIFT, 2010 – 2013 © Jelena Miskovi c´ [25] I Can Burn your Face, 2008, Test neon 8 mm, 12 x 38 inches (30.5 x 96.5 cm), Edition of 18, Courtesy Jill Magid and Yvon Lambert, Paris [26] Elvis Bastard Bressnik, 2013 © Heiko Bressnik, Photo: Martina Strilic [27] Significant Others, 2013 © Marco Pezzotta