Bio

Zach Blas at the Seoul AirportZach Blas is an artist, filmmaker, and writer whose practice spans technical investigation, theoretical research, conceptualism, performance, and science fiction. He is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.

Blas has exhibited, lectured, and held screenings internationally, recently at the Walker Art Center, 2018 Gwangju Biennale, the 68th Berlin International Film Festival, Matadero Madrid, Los Angeles County Museum of Art, Art in General, Gasworks, Van Abbemuseum, Institute of Contemporary Arts Singapore, e-flux, Whitechapel Gallery, ZKM Center for Art and Media, and Museo Universitario Arte Contemporáneo. His practice has been supported by a Creative Capital award in Emerging Fields, the Arts Council England, and Edith-Russ-Haus für Medienkunst. Blas is a 2018-20 UK Arts and Humanities Research Council Leadership Fellow.

Recent works have addressed biometric capture, time travel, policing as mysticism, the crystals balls of Silicon Valley, and dildos. SANCTUM (2018) is a sex dungeon-cum-detention center that recasts security and surveillance through BDSM. An immersive film installation, 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 four-channel video installation and 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’s writings can be found in the collections You Are Here: Art After the InternetDocumentary Across DisciplinesQueer: Documents of Contemporary Art, as well as e-flux journal and various exhibition catalogues. He is currently co-editing the anthology Informatics of Domination and writing the book 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.

Abridged CV

Education

  • 2014  Ph.D., Program in Literature, Duke University
  • 2008  Master of Fine Art, Design Media Arts, University of California, Los Angeles
  • 2006  Post-Baccalaureate Certificate in Studio, Art and Technology Studies, The School of the Art Institute of Chicago
  • 2004  Bachelor of Science, Film, Boston University

Teaching Appointments

  • 2015-      Lecturer, Department of Visual Cultures, Goldsmiths, University of London
  • 2014-15  Assistant Professor, Department of Art, University at Buffalo, SUNY

Selected Awards, Fellowships & Grants

  • 2019
  • Mercator Fellow, Configurations of Film, Goethe-Universität Frankfurt
  • Film London Jarman Award (nominated)
  • 2018-20
  • UK Arts and Humanities Research Council Leadership Fellow
  • 2018
  • Grant for Media Art of the Foundation of Lower Saxony, Edith-Russ-Haus für Medienkunst
  • Paul Hamlyn Foundation Award for Visual Artists (nominated)
  • Film London Jarman Award (nominated)
  • Future of Europe Award (nominated)
  • Keith Harding Fellowship in Art and Activism, Bard College (nominated)
  • Teddy Award for Best Short Film, Berlin International Film Festival (nominated)
  • 2017
  • Grants for the Arts, Arts Council England
  • Paul Hamlyn Foundation Award for Visual Artists (nominated)
  • Film London Jarman Award (nominated)
  • 2016
  • Creative Capital award in Emerging Fields
  • 2014
  • Techné Institute Faculty Fellowship, University at Buffalo
  • 2013
  • Artist Grant, California Institute for Telecommunications and Information Technology, University of California, San Diego

Selected Exhibitions, Screenings & Performances

  • Solo Exhibitions
  • 2019
  • The Doors, Edith-Russ-Haus für Medienkunst, Oldenburg
  • 2018
  • SANCTUM, Abierto x Obras, Matadero Madrid
  • The Objectivist Drug Party, MU, Eindhoven
  • Contra-Internet, Art in General, New York
  • 2017
  • Contra-Internet, Gasworks, London
  • Group Exhibitions
  • 2020
  • Positions 6, Van Abbemuseum, Eindhoven
  • 2019
  • Open Codes. Connected Bots, curated by Christian Lölkes and Lívia Nolasco-Rózsás, Chronus Art Center, Shanghai
  • Entangled Realities: Living with Artificial Intelligence, curated by Sabine Himmelsbach and Boris Magrini, Haus der elektronischen Künste Basel
  • Forging the Gods, curated by Julia Kaganskiy, TRANSFER pop-up #ONCANAL, New York
  • The Body Electric, curated by Pavel Pyś with Jadine Collingwood, Walker Art Center, Minneapolis
  • Vertiginous Data, curated by Deoksun Park, National Museum of Modern and Contemporary Art, Korea, Seoul
  • Computer Grrrls, curated by Inke Arns and Marie Lechner, La Gaîté Lyrique, Paris
  • Refiguring the Future, Hunter College Art Galleries, New York
  • We are the people. Who are you? Edel Assanti, London
  • 2018
  • As We May Think, Feedforward, Guangzhou Triennial (censored and banned)
  • Computer Grrrls, curated by Inke Arns and Marie Lechner, Hartware MedienKunstVerein, Dortmund
  • Low Form: Imaginaries and Visions in the Age of Artificial Intelligence, curated by Bartolomeo Pietromarchi, MAXXI, Rome
  • Escaping the Digital Unease, curated by Raffael Dörig, Domenico Quaranta, and Fabio Paris, Espace multimedia gantner, Bourogne
  • Paradox: The Body in the Age of AI, curated by Elizabeth Chodos, Miller ICA, Pittsburgh
  • Persona: Presenting Authentic, Necessary, and Constructed Selves, curated by Betti-Sue Hertz, Bronx River Art Center
  • The Ends: The Politics of Participation in the Post-Internet Age, curated by Christine Y. Kim and Rita Gonzalez, Imagined Borders, Gwangju Biennale
  • Open Codes, curated by Peter Weibel, Lívia Nolasco-Rózsás, Yasemin Keskintepe, and Blanca Giménez, ZKM Center for Art and Media, Karlsruhe
  • Walls Turned Sideways: Artists Confront the American Justice System, curated by Risa Puleo, Contemporary Arts Museum Houston
  • I Was Raised on the Internet, curated by Omar Kholeif, Museum of Contemporary Art Chicago
  • Say Shibboleth! On Visible and Invisible Borders, curated by Boaz Levin, Jewish Museum Hohenems
  • Soon Enough: Art in Action, curated by Maria Lind, Tensta Konsthall, Spånga, Sweden
  • i am here to learn: On Machinic Interpretations of the World, curated by Mattis Kuhn, Frankfurter Kunstverein, Frankfurt
  • Territories of Complicity, transmediale, curated by Inga Seidler, Haus der Kulturen der Welt, Berlin
  • 2017
  • Electronic Superhighway, curated by Omar Kholeif, Emily Butler, and Seamus McCormack, Museum of Art, Architecture and Technology, Lisbon
  • Escaping the Digital Unease, curated by Raffael Dörig, Domenico Quaranta, and Fabio Paris, Kunsthaus Langenthal
  • Propositions for a stage: 24 frames of a beautiful heaven, curated by Bridget Crone, Institute of Contemporary Arts Singapore
  • Our Bright Future – Cybernetic Fantasy, curated by Jeonghwa Goo, Sooyoung Lee, and Unmake Lab, Nam June Paik Art Center, Yongin, South Korea
  • Material Politics, curated by Aileen Burns and Johan Lundh, Institute of Modern Art, Brisbane
  • The Noise of Being, Sonic Acts Festival, curated by Nicky Assmann, Amsterdam
  • 2016
  • Futurs Non-Conformes #2, curated by Nicolas Maigret, Espace Virtuel, Jeu de Paume, Paris
  • Public, Private, Secret, curated by Charlotte Cotton, International Center of Photography, New York
  • Big Bang Data, ArtScience Museum, Singapore
  • Digital Abstractions, curated by Alexandra Adler and Reinhard Storz, Haus der elektronischen Künste Basel
  • The Next Big Thing is not a Thing, curated by Pauline Doutreluingne, Agata Jaworska, Yana Milev, Niels Schrader and Saskia van Stein, Bureau Europa, Maastricht
  • The Black Chamber, curated by Eva and Franco Mattes and Bani Brusadin, Škuc Gallery with Aksioma, Ljubljana
  • Electronic Superhighway, curated by Omar Kholeif, Whitechapel Gallery, London
  • 2015
  • First Look: Real Live Online, curated by Lucas G. Pinheiro and Devin Kenny, New Museum, New York
  • Big Bang Data, curated by Olga Subirós and José Luis de Vicente, Somerset House, London
  • BPLTC II: Identity Control, Eastern Bloc, Montréal
  • GLOBALE: Global Control and Censorship, curated by Lívia Rózsás and Bernhard Serexhe, ZKM Center for Art and Media, Karlsruhe
  • GLOBALE: Infosphere, curated by Peter Weibel, ZKM Center for Art and Media, Karlsruhe
  • Eyebeam in Objects, curated by Roddy Schrock, Upfor Gallery, Portland, OR
  • Now? Now!, Biennial of the Americas, curated by Lauren Wright, Denver Museum of Contemporary Art
  • Surveillance Awareness Bureau, curated by Claudia Arozqueta, Modelab, Wellington, New Zealand
  • Control / Shift / Escape, Black Box Festival, curated by Anne Couillaud and Julia Fryett, Main Gallery at Cornish College of the Arts, Seattle
  • Beyond the Interface, curated by Marc Garrett and Julian Stadon, Furtherfield, London
  • Imaginary Accord, curated by Aileen Burns and Johan Lundh, Institute of Modern Art, Brisbane
  • Black Box Formula, curated by Jintaeg Jang, Georgia Muenster, and Joni Zhu, Royal College of Art, London
  • CAPTURE ALL, transmediale, curated by Daphne Dragona and Robert Sakrowski, Haus der Kulturen der Welt, Berlin
  • 2014
  • Your Consent is Implied, curated by Joshua Mittleman and Gus Sondin-Kung, New Shelter Plan, Copenhagen
  • The Moving Museum, curated by Aya Mousawi and Simon Sakhai, Şişhane Otopark, Istanbul
  • Theory of Colour, curated by Cuauhtémoc Medina, Helena Chávez, and Alejandra Labastida, Museo Universitario Arte Contemporáneo, Mexico City
  • NYC Makers: The MAD Biennial, curated by Jake Yuzna, Museum of Arts and Design, New York
  • Dak’Art, curated by Massamba Mbaye, Musée Théodore-Monod d’art africain, Dakar
  • Science Fiction: The New Death, curated by Mike Stubbs, Omar Kholeif, and John Dunning, Foundation for Art and Creative Technology, Liverpool
  • FACELESS, curated by Bogomir Doringer, Mediamatic, Amsterdam
  •  Annual Showcase, Eyebeam, New York
  • 2013
  • FACELESS II, curated by Bogomir Doringer, quartier21, Vienna
  • Overflow, transmediale reSource 006, curated by Tatiana Bazzichelli, Kunstraum Kreuzberg / Bethanien, Berlin
  • The Very First Year, curated by Laurel Ptak, Eyebeam, New York
  • The Life of Forms, curated by Zen Marie, GoetheonMain, Johannesburg
  • REVERIE, Reed Arts Week, Reed College, Portland, OR
  • Trans Technology: Circuits of Culture, Self, Belonging, curated by Christian Dunbar-Hester and Bryce J. Renninger, Women Artists Series Galleries, Rutgers University, New Brunswick
  • 2012
  • The HTMlles 10: Risky Business, Feminist Festival of Media Arts + Digital Culture, Studio XX, Montréal
  • What Have I Done to (De)serve This?, curated by Omar Kholeif and Sarah Perks, BlankSpace, Abandon Normal Devices Festival, Manchester
  • Screenings
  • 2019
  • International Short Film Festival Oberhausen
  • 2018
  • Lapsus, Festival of Film Animation and Contemporary Art, Olomouc
  • New Aesthetic: The End of Utopia?, Kurzfilmfestival Köln, Cologne
  • The Influencers, Centre de Cultura Contemporània de Barcelona
  • Contra-Internet: Jubilee 2033, Los Angeles County Museum of Art
  • //, Chelsea College of Arts, London
  • Hong Kong Gay and Lesbian Film Festival
  • IAM, Garage Museum of Contemporary Art, Moscow, Russia
  • The Intersection, Museum of Contemporary Art, Detroit
  • Alien Time: An Invitation to Time Travel, curated by Bridget Crone and Henriette Gunkel, Goldsmiths, University of London
  • Neo Ultra Punk, The Institute of Contemporary Arts, London
  • Xenometrics, curated by Pedro Marum, Mimosa House, London
  • After Effects, curated by Laurel Ptak, Anthology Film Archives, New York
  • A Mechanism Capable of Changing Itself, Forum Expanded, Berlin International Film Festival
  • 2017
  • After Effects, curated by Laurel Ptak, Center for Contemporary Art Estonia, Tallinn
  • Wildings, Melbourne Queer Film Festival
  • 2016
  • The Flare Queer Sci-Tech Lab, BFI Flare: London LGBT Film Festival
  • 2015
  • Vulnerable Sytems: A Screening of Video Works, curated by Jeanne Dreskin, Roksana Filipowska, and Mashinka Firunts, Institute of Contemporary Art, Philadelphia
  • 2013
  • Infrared IV: New Visions from the Queer Avant-Garde, curated by Malic Amalya, The Seattle Lesbian and Gay Film Festival
  • 2012
  • Move In, curated by ONE Archives, Honor Fraser, Los Angeles
  • Lecture-Performances & Performances
  • 2019
  • Metric Mysticism, Edel Assanti, London
  • Body Horror, Videonale, Bonn
  • 2018
  • Body Horror, Lapsus, Festival of Film Animation and Contemporary Art, Olomouc
  • Body Horror, Tentacular, Matadero Madrid
  • Is the internet a urinal?, Los Angeles County Museum of Art
  • Is the internet a urinal?, MU, Eindhoven
  • Metric Mysticism, Department of Visual Cultures Public Programme, Goldsmiths, University of London
  • Metric Mysticism, Coded Matter(s), Amsterdam
  • Metric Mysticism, Trafó Gallery, Budapest
  • Metric Mysticism, Tensta Konsthall, Spånga, Sweden
  • Is the internet a urinal?, Art in General, New York
  • Metric Mysticism, transmediale, Haus der Kulturen der Welt, Berlin (with xin)
  • Metric Mysticism, e-flux, New York
  • 2017
  • Metric Mysticism, Gasworks, London
  • bio-exempt, Liquid Architecture, Melbourne
  • Patterns-of-Life-Resistance, with Jemima Wyman, Institute of Modern Art, Brisbane
  • 2016
  • Contra-Internet, RISD Museum, Providence
  • Contra-Internet, Whitechapel Gallery, London
  • 2014
  • The New Romantics, curated by Claudia Hart, Nicholas O’Brien, and Katie Torn, Eyebeam, New York
  • 2013
  • Facial Weaponization Suite: Fag Face Scan Stationreclaim:pride, ONE Archives, Christopher Street West Pride Festival, West Hollywood
  • 2011
  • Somatic SENSOR, curated by Micha Cárdenas and Elle Mehrmand, Highways Performance Space & Gallery, Santa Monica

Selected Invited Talks

  • 2019
  • Artist Talk, The Ruskin School of Art, Oxford University
  • “Body Horror,” CCC Public Thought, HEAD Genève
  • “Beati Illi, Qui Est Imago-Free,” Tenaglia Lecture, Cornell University, Ithaca
  • @TheMechanicalBro, Monday Night Seminars, McLuhan Centre for Culture and Technology, Toronto
  • Refiguring the Future, Hunter College Art Galleries, New York
  • “Beati illi, qui est imago-free,” Center for Experimental Humanities, New York University
  • Control Societies, University of Pennsylvania, Philadelphia
  • 2018
  • Facial machines and obfuscation in an age of biometrics and neural networks, Aarhus University
  • On Archipelagoes and Other Imaginaries, Creative Time Summit, Miami
  • The Queer Commons / GLQ Launch, Participant Inc, New York
  • Aesthetics and Politics Program Guest Lecture, California Institute of the Arts, Valencia
  • Artist Talk, Spike Island, Bristol
  • Coded Matter(s), Fiber, Amsterdam
  • Black Lens, La Colonie, Paris
  • Queer Discipline Seminar, King’s College London
  • “The Prison-House,” Subjectivity, Art, and Data Programme, Royal Holloway, University of London
  • “i like pics of humans but i could fux wit dis too,” School of Visual Arts, New York
  • 2017
  • Arts & Humanities Talks, Royal College of Art, London
  • The Study Sessions: The Politics of Opacity, Nottingham Contemporary
  • Refracted Spaces, Gasworks, London
  • Becoming More, Van Abbemuseum, Eindhoven
  • The New Normal, Strelka Institute for Media, Architecture and Design, Moscow
  • “bio-exempt,” University of California, Santa Barbara
  • Darkness in the Archives: Queer Opacity as Resistance, ONE Archives, Los Angeles
  • “bio-exempt,” New Mexico State University, Las Cruces
  • “bio-exempt,” The Noise of Being, Sonic Acts Festival, Amsterdam, Netherlands
  • Queer Cultures Seminar, University of Cambridge
  • 2016
  • “Contra-Internet,” keynote, Digital Disorders, Goethe-Universität, Frankfurt
  • OpenEye, Filmová a televizní fakulta Akademie múzických umění v Praze, Prague
  • Gravity, Sheffield Institute of Art, Sheffield Hallam University
  • The Influencers, Centre de Cultura Contemporània de Barcelona
  • Risking Everything: The Computational Politics of Prediction, Security, and Secrecy, Goldsmiths, University of London
  • “Contra-Internet,” The Black Chamber, Kino Šiška with Aksioma, Ljubljana
  • Contra-Internet, ZKM Center for Art and Media, Karlsruhe
  • 2015
  • “Informatic Opacity,” Conditions are Now in Transition: The Local, The Border, Department of Art, Goldsmiths, University of London
  • “Informatic Opacity,” Queory: Centre for the Study of Sexual Dissidence, University of Sussex, Brighton
  • “Contra-Internet,” The Long Progress Bar, Lighthouse, Brighton
  • “Contra-Internet,” DVLPR and DIS Magazine: A Postscript Symposium on The Data Issue, Abrons Arts Center, New York
  • “Feminist Imperceptibilities,” Hacking Feminism, The New School, New York
  • “Biometrics and Opacity,” Biocode: Performing Transgression After New Media, University of Pennsylvania, Philadelphia
  • “Contra-Internet,” The Internet Does Not Exist, e-flux, New York
  • “Informatic Opacity and Contra-Internet Aesthetics,” Media, Art, and Text Guest Lecture Series, Virginia Commonwealth University, Richmond
  • “Biometrics and Informatic Opacity,” Workshop on US Locations: Privacy and Recognition, University of Chicago
  • “Contra-Internet,” Factory/studio/tumblr, Institute of Modern Art, Brisbane
  • “Virus, Viral, Queer,” lecture with micha cárdenas, Virus, Monroe Center for Social Inquiry, Pitzer College, Claremont
  • “Contra-Internet Aesthetics,” Politics of Digital Networks, Research Center for Proxy Politics, Universität der Künste Berlin
  • 2014
  • “Contra-Internet: A Lecture,” Museum of Modern Art in Warsaw
  • Facial Weaponization Suite and Face Cages,” Critical Tactics Lab, Hemispheric Institute of Performance and Politics, New York University
  • “Informatic Opacities,” Open Seminar on Aesthetics, Art, and Politics, Theory of Colour, Museo Universitario Arte Contemporáneo, Mexico City
  • “Contrasexual, Contra-Internet: What are the dildotectonics of the internet?,” with Övül O. Durmusoglu, The Moving Museum Istanbul
  • Queer|Art|Film LA: Zach Blas presents Jubilee, Sundance Cinemas, West Hollywood
  • “How to Become Informatically Opaque,” The White Building, London
  • Facial Weaponization Suite and Face Cages,” StalkFest, Mediamatic, Amsterdam
  • 2013
  • “Informatic Opacity: The Universal Standards of Identification and Queerness,” keynote, Experimental Collectivities, Hemispheric Institute of Performance and Politics Graduate Student Initiative Convergence, University of Southern California, Los Angeles
  • “Escape, Opacity, and Darkness: The Universal Standards of Identification and Queer Illegibility,” Overflow, transmediale reSource 006, Kunstraum Kreuzberg / Bethanien, Berlin
  • “Queer Technologies and Autonomous Practices of Networked (In)visibility,” REVERIE, Reed Arts Week, Reed College, Portland, OR
  • “Practices of Illegibility: On Queerness, Opacity, and Political Refusals of Recognition,” Interdivisional Media Arts + Practice Visiting Artist Lecture Series, University of Southern California, Los Angeles
  • 2012
  • “Encountering Risky Business,” artist talk and tour with McGill University’s Institute for Gender, Sexuality, and Feminist Studies, Risky Business, The HTMlles 10: Feminist Festival of Media Arts + Digital Culture, Studio XX, Montréal
  • 2011
  • “Weapons for Queer Escape,” Devisualize, Medialab Prado, Madrid

Selected Commissions

  • 2019
  • The Doors, solo exhibition and film installation, De Young Museum, San Francisco; Edith-Russ-Haus für Medienkunst, Oldenburg; and Van Abbemuseum, Eindhoven
  • Icosahedron, interactive artificial intelligence installation, Walker Art Center and Thoma Art Foundation
  • 2018
  • SANCTUM, solo exhibition, Julia Kaganskiy; Tentacular: Festival de Tecnologías, Críticas y Aventuras Digitales; and Matadero Madrid
  • Is the internet a urinal?, exhibition catalogue essay, I Was Raised on the Internet, curated by Omar Kholeif, Museum of Contemporary Art Chicago
  • 2017-18
  • Contra-Internet and Jubilee 2033, solo exhibition and film installation, Gasworks, London; Art in General, New York; and MU, Eindhoven
  • 2016
  • Contra-Internet Inversion Practice #3: Modeling Paranodal Space, artwork for exhibition, What Now? On Future Identities, Art in General, New York
  • Contra-Internet, lecture-performance, Rhizome, New York
  • “Vacuoles of Noncommunication: From Invisible Adversary to Invisible Revolt,” exhibition catalogue essay, Invisible Adversaries, edited by Lauren Cornell and Tom Eccles, Hessel Museum of Art, Bard College, Annandale-on-Hudson
  • 2015
  • Contra-Internet, artwork for exhibition, Imaginary Accord, curated by Aileen Burns and Johan Lundh, Institute of Modern Art, Brisbane
  • Contra-Internet, artwork for publication, DIS Magazine, The Data Issue, edited by Marvin Jordan and Mike Pepi
  • 2014
  • Facial Weaponization Suite, artwork for exhibition, Theory of Colour, curated by Cuauhtémoc Medina, Helena Chávez, and Alejandra Labastida, Museo Universitario Arte Contemporáneo, Mexico City
  • 2012
  • Queer Technologies, artwork for exhibition, What Have I Done to (De)serve This?, curated by Omar Kholeif and Sarah Perks, BlankSpace, Abandon Normal Devices Festival, Manchester

Selected Residencies

  • 2019
  • Edith-Russ-Haus für Medienkunst, Oldenburg
  • 2017
  • Patterns-of-Life-Resistance, with Jemima Wyman, Institute of Modern Art, Brisbane
  • 2015
  • The Public Domain, Delfina Foundation, London
  • 2014
  • The Moving Museum Istanbul
  • The White Building, London
  • 2013-14
  • What is Important Now?, Eyebeam, New York
  • 2013
  • The Life of Forms, Johannesburg Workshop in Theory and Criticism, Wits Institute for Social and Economic Research, University of Witwatersrand, Johannesburg
  • 2012-13
  • b.a.n.g. lab and Performative Nanorobotics Lab, University of California, San Diego
  • 2011
  • in/compatible.research, Vilém Flusser Archive, transmediale, Universität der Künste Berlin
  • Devisualize, Medialab Prado, Madrid
  • On the Commons; or, Believing-Feeling-Acting Together, Banff Research in Culture, The Banff Centre
  • 2010
  • Art and Resistance, Hemispheric Institute of Performance and Politics, San Cristóbal de las Casas, Chiapas

Selected Conferences, Symposia, Panels, Conversations, and Workshops

  • 2019
  • Machine Vision: Generic Mannequins, with Laliv Melamed and Antonio Somaini, Teatrino di Palazzo Grassi, Venice
  • In Conversation with Kris Paulsen, Walker Art Center, Minneapolis
  • Incomputable Futures, Program in Computational Media Arts and Cultures, Duke University, Durham
  • Producing the Mapplethorpe Moment: Artist Expression in Fraught Times, panel with Wayne Modest, Amy Sadao, Kaja Silverman, and Sophia Wallace, Institute of Contemporary Art, Philadelphia
  • Machine Vision: Images, Pouvoir, Algorithmes, with Laliv Melamed and Antonio Somaini, Le Bal, Paris
  • 2018
  • Ricerche Sensibili, Quadriennale di Roma, Lecce
  • “Art and the Global Post-Internet Condition,” panel with Laura Baladi, Christine Y. Kim, and Rita Gonzalez, Gwangju Biennale International Symposium
  • “I Hear a New World,” MU, Eindhoven
  • Beating the System(s), panel with Lucia Pietroiousti, Sebastien Noel, and Ben Eastham, ArtReview Bar, London
  • Conversations from the Future, with Ben Eastham, Hayward Gallery, London
  • Frames of Representation: In Conversation with Xu Bing, The Institute of Contemporary Arts, London
  • Unlearning Dystopia: Queer Utopias, Art in General, New York
  • “Reimagine the Internet: Affect, Velocity, Excess,” discussion with Aria Dean, transmediale, Haus der Kulturen der Welt, Berlin
  • 2017
  • Queering Representational Aesthetics, with Isaac Julien, Goldsmiths, University of London
  • In Conversation with Harold Offeh, Wysing Arts Centre, Cambridge
  • “Masterclass – Two Outsides: Informatic Opacity & Contra-Internet,” The Noise of Being, Sonic Acts Festival, Rijksakademie, Amsterdam
  • 2016
  • Sliding Into a Face, panel with Nicolas Malevé, Federica Biotti, and Andrew Muray, The Photographer’s Gallery, London
  • Futurs Non-Conformes #2: Passages à l’acte, panel with Morehshin Allahyari & Daniel Rourke, RYBN, and Nicolas Maigret, Jeu de Paume, Paris
  • The Dark Side of the Internet: Eva and Franco Mattes in Conversation with Zach Blas, The Photographers’ Gallery, London
  • Political Identity and the Moving Image, panel with Ahmet Öğüt, Oreet Ashery, and Rizvana Bradley, Artists’ Film Biennial, The Institute of Contemporary Arts, London
  • The Technological Body and Its Discontents, Frieze Talks with Omar Kholeif, Andrea Crespo, and Jacolby Satterwhite, Frieze New York
  • To Mask and to Hide, conversation with UBERMORGEN.COM, ZKM Center for Art and Media, Karlsruhe
  • Culture Now: Zach Blas & Seb Franklin, The Institute of Contemporary Arts, London
  • 2015
  • Network Pessimism: Welcome to the New Dark Age! LUX Salon with Louis Henderson, LUX, London
  • In Conversation: Laurel Ptak and Zach Blas, Delfina Foundation, London
  • Don’t Think You Have Any Rights: The Challenges of Italian Feminisms, panel with Fulvia Carnevale, Marina Vishmidt, Carla Lonzi, Giovanna Zapperi, Maria Drakopoulou, and Francesco Ventrella, Now You Can Go Seminar, The Showroom, London
  • “Informatic Opacity,” Between Opacity and Openness, panel with Mark Fenster, Mikkel Flyvverbom, and Vian Bakir, Politics and Practice of Secrecy, King’s College London
  • “Informatic Opacity,” Selfhood, Selflessness, and Selfies: On Being Rendered Visible, panel with Karen Archey, Heather Dewey-Hagborg, Jacolby Satterwhite, and Lauren Cornell, VISIBLE/INVISIBLE, New Museum, New York
  • “Contra-Internet Aesthetics: A Workshop,” Royal College of Art, London
  • Invited Moderator and Respondent, Becoming Fog: Obfuscation in a Datafying World, panel with Heather Dewey-Hagborg and Mushon Zer-Aviv, CAPTURE ALL, transmediale, Haus der Kulturen der Welt, Berlin
  • 2014
  • “Facial Weaponization Suite: A Mask-Making Workshop,” Museo Universitario Arte Contemporáneo, Mexico City
  • “Facial Weaponization Suite and Face Cages,” The Creative City as the Internet of (bright, young) Things, panel with Rob van Kranenburg, Frank Rieger, and Florian Cramer, MyCreativity Sweatshop, Institute of Network Cultures, Amsterdam University of Applied Sciences
  • “Facial Weaponization Suite & Face Cages,” Post Human, panel with Anthony Antonellis, Meredith Bak, Ursula Endlicher, and Stephanie Boluk, Meme, You and Everyone We Follow, Pratt Upload, Pratt Institute, Brooklyn
  • Performance as Resistance, conversation with Cassils, Videofag, Toronto
  • How I Learned to Stop Worrying and Queer the Internet: Jack Halberstam & Zach Blas in Conversation, The Institute of Contemporary Arts, London
  • “Informatic Opacity: On Biometrics and Facial Weaponization,” Digital Transparency and Secrecy, panel with Clare Birchall, David Berry, and Smari McCarthy, Digital Activism #Now: Information Politics, Digital Culture, and Global Protest, King’s College London
  • 2013
  • “Surveillance, Aesthetics, and Resistance: A Workshop with Zach Blas and Simone Browne,” Digital Praxis Seminar, The Graduate Center,  The City University of New York
  • “Facial Weaponization Suite and Queer Opacity,” The Stoop Series, panel with R. Luke DuBois and Roddy Schrock, BRIC, Brooklyn
  • “Facial Weaponization Suite: A Mask-Making Workshop,” Eyebeam, New York
  • “Queer Illegibility and the Facial Weaponization Suite,” Movements of Disturbance, panel with Micha Cárdenas and Pinar Yoldas, Multiplicities in Motion: Affects, Embodiment and the Reversal of Cybernetics. 3.000 Years of Posthuman History, Medialab Prado, Madrid
  • “Facial Weaponization Suite: A Mask-Making Workshop,” b.a.n.g. lab and Performative Nanorobotics Lab, University of California, San Diego
  • “Escape, Opacity, and Darkness: Queer Illegibility and the Facial Weaponization Suite,” Biometrics and Biopower, panel with Simone Browne, Shelleen Greene, and Jennifer Johung, The Dark Side of the Digital, A Center for 21st Century Studies Conference, University of Wisconsin-Milwaukee
  • “Facial Weaponization Suite,” Computation and the Non-Human: New Directions in Queer Theory and Art, New Media Caucus, featured panel with Micha Cárdenas, Jacob Gaboury, Pinar Yoldas, and Alison Reed, College Art Association Conference, New York
  • 2012
  • The Art Of Success, salon with Jennifer Chan and Jeff Stark, International Anthony Burgess Foundation, Abandon Normal Devices Festival, Manchester
  • Moderator, Geopolitics of Reimagination: Art, Media, and Social Movements, panel with Counter-Cartographies Collective, Brian Holmes, Pedro Lasch, Dannys Montes de Oca Moreda, and The Yes Men, The Geo/Body Politics of Emancipation, Hemispheric Institute of Performance and Politics Graduate Student Initiative Convergence, Duke University, Durham
  • “Faces, Biometrics, and the Aesthetics and Politics of Recognition: A Mask-Making Workshop,” Risky Business, The HTMlles 10: Feminist Festival of Media Arts + Digital Culture, OBORO, Montréal
  • “Fag Face, or How to Weaponize Your Face: On Facial Recognition and Escaping the Face,” Queer Viral Aesthetics: Resistant Practices in Media Art and Philosophy, panel with Micha Cárdenas and Pinar Yoldas, South by Southwest Interactive, Austin
  • “Queer Technologies,” Commercializing Eros, panel with Jacob Appelbaum, Kate Ehrhardt, Liad Hussein Kantorowicz, Gaia Novati, and Aliya Rakhmetova, reSource sex, transmediale, Haus der Kulturen der Welt, Berlin
  • 2011
  • “Queer Viralities: On Technologies and Weapons of Queerness,” in/compatible.research, PhD Workshop, Vilém Flusser Archive, transmediale, Universität der Künste Berlin
  • Chair, “Virus, Viral, Queer,” Queer Viralities: Resistant Practices in Media Art and Philosophy, panel with Micha Cárdenas and Elle Mehrmand, International Symposium on Electronic Art, Istanbul
  • Speculative, co-moderator, panel with Jeff Cain, Micha Cárdenas, Jordan Crandall, Jack Halberstam, Michael Kontopoulos and Rita Raley, Los Angeles Contemporary Exhibitions
  • “Opening Queerness,” panel with Alisa Andrasek and Ben Woodard, Leper Creativity: Cyclonopedia Symposium I, The New School, New York

Conferences & Symposia Organized

  • 2018
  • The Silicon Zone, Art in General, New York
  • 2017
  • The Only Path to Tomorrow, Gasworks, London
  • Informatics of Domination, Department of Visual Cultures Spring Public Programme, Goldsmiths, University of London
  • 2013
  • Illegibility, Imperceptibility, Invisibility: On the Political Refusal of Recognition, Department of Women’s Studies, Duke University, Durham
  • 2012 
  • The Geo/Body Politics of Emancipation: Hemispheric Institute of Performance and Politics Convergence, Duke University, Durham
  • Marxism and New Media, The Program in Literature, Duke University, Durham
  • 2009
  • Queer Bonds, University of California, Berkeley

Public Collections

  • Museo Universitario Arte Contemporáneo, Mexico City
  • German Museum of Technology Berlin
  • Design Museum Den Bosch

Appointments

  • 2018
  • Vera List Center Prize for Art and Politics Council
  • 2016-
  • Editorial Board, Goldsmiths Press
  • 2016
  • Artist Mentor, Queering Love, Queering Hormones, no.w.here / British Film Institute / Wellcome Trust
  • 2015
  • Juror, Unsolicited Exhibition Program, apexart
  • 2014-18
  • Associate Editor, Media-N: Journal of the New Media Caucus
  • 2014-
  • Advisory Board Member, APBJA (“A peer-reviewed journal about”)
  • 2011-14
  • Contributing Editor, Version