Zach Blas is an artist, filmmaker, and writer whose practice spans technical investigation, theoretical research, queer and feminist futurity, conceptualism, and science fiction. His work broadly confronts the political unconscious of science and technology. Currently, he is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.
Recent works have addressed killed chatbots, time travel, the securitization of romance, biometric capture, policing as mysticism, smart drugs and psychedelia, the crystals balls of Silicon Valley, and dildos. Contra-Internet: Jubilee 2033 (2018) follows author Ayn Rand on an acid trip, in which she bares witness to a dystopian future of the internet. im here to learn so :)))))) (2017), a collaboration with Jemima Wyman, resurrects Microsoft AI Tay to consider the gendered politics of pattern recognition and machine learning. Facial Weaponization Suite (2011-14) consists of amorphous masks that demand opacity against facial recognition systems.
Blas has exhibited, lectured, and held screenings internationally, recently at the 68th Berlin International Film Festival; Art in General, New York; Gasworks, London; Institute of Modern Art, Brisbane; Van Abbemuseum, Eindhoven; Institute of Contemporary Arts Singapore; e-flux, New York; Whitechapel Gallery, London; and Museo Universitario Arte Contemporáneo, Mexico City. His practice has been supported by a 2016 Creative Capital award in Emerging Fields and the Arts Council England.
Blas’s writings can be found in Documentary Across Disciplines (The MIT Press and Haus der Kulturen der Welt); Queer: Documents of Contemporary Art (The MIT Press and Whitechapel Gallery); and e-flux journal. He is producing two books, an artist monograph and Informatic Opacity: The Art of Defacement in Biometric Times, a theoretical study that considers biometric facial recognition as an emerging form of global governance alongside aesthetico-political refusals of recognition, such as masked protest.
His work has been written about and featured in Artforum, Frieze, ArtReview, Art Monthly, Mousse Magazine, The Guardian, and The New York Times.