FACE CAGES (2013 – present)
The success of today’s booming biometrics industry resides in its promise to rapidly measure an objective, truthful, and core identity from the surface of a human body, often for a mixture of commercial, state, and military interests. Yet, feminist communications scholar Shoshana Amielle Magnet has described this neoliberal enterprise as producing “a cage of information,” a form of policing, surveillance, and structural violence that is ableist, classist, homophobic, racist, sexist, and transphobic.
Biometric machines often fail to recognize non-normative, minoritarian persons, which makes such people vulnerable to discrimination, violence, and criminalization: Asian women’s hands fail to be legible to fingerprint devices; eyes with cataracts hinder iris scans; dark skin continues to be undetectable; and non-normative formations of age, gender, and race frequently fail successful detection. These examples illustrate that the abstract, surface calculations biometrics performs on the body are gross, harmful reductions.
A visual motif in biometric facial recognition is the minimal, colorful diagrams that visualize over the face for authentication, verification, and tracking purposes. These diagrams are a kind of abstraction gone bad, a visualization of the reduction of the human to a standardized, normalized, ideological diagram. When these diagrams are extracted from the humans they cover over, they appear as harsh and sharp incongruous structures; they are, in fact, digital portraits of dehumanization.
Face Cages is a dramatization of the abstract violence of the biometric diagram. Diagrams are fabricated as three-dimensional metal objects, evoking a material resonance with handcuffs, prison bars, and torture devices used during slavery in the US and the Medieval period. The virtual biometric diagram, a supposedly perfect measuring and accounting of the face, once materialized as a physical object, transforms into a cage that does not easily fit the human head, that is extremely painful to wear. These cages exaggerate and perform the irreconcilability of the standardized, neoliberal biometric diagram with the materiality of the human face itself–and the violence that occurs when the two are forced to coincide.
CAPTURE ALL, transmediale festival, Haus der Kulturen der Welt, Berlin, Germany
Theory of Colour, Museo Universitario Arte Contemporáneo (MUAC), curated by Helena Chávez, Alejandra Labastida, and Cuauhtémoc Medina, Mexico City, Mexico
Hemispheric Institute of Performance and Politics Encuentro, Montreal, Canada
Dakar Biennale, Dakar, Senegal
Annual Showcase, Eyebeam, New York, NY
Press and Criticism
Kyle Chayka, “Fight surveillance by making it visible,” Al Jazeera America
Jathan Sadowski, “Biometrics are coming for you,” Al Jazeera America
Elizabeth Joh, “From Anti-drone Burqas to Face Cages: What Artists Are Showing Us about Surveillance and the Law,” The Life of the Law, 2014
Robinson Meyer, “This Is What a Facial-Detection Algorithm Looks Like in 3D,” The Atlantic, 2014
Rebecca Hiscott, “‘Fag Face’ Mask Protests Sex Discrimination in Facial-Scanning Tech,” Mashable, 2014
Kyle Chayka, “Facial Weaponization Suite,” POSTmatter, 2014
Performance Collaborators: Micha Cárdenas, Elle Mehrmand, and Paul Mpagi Sepuya
3D Modeling: Scott Kepford
Photography and Videography: Christopher O’Leary
EventsJanuary 28 - February 1 CAPTURE ALL, transmediale festival, Haus der Kulturen der Welt, Berlin, Germany December 15 Museum of Modern Art, Warsaw, Poland December 11 Critical Tactics Lab, Hemispheric Institute of Performance and Politics, NYU, New York, NY November 29 - 21 MyCreativity Sweatshop: Reality Check on the Creative Industries, Institute of Networks Cultures, Amsterdam, Netherlands November 19 Some Birds Are More Like Fish, Worksession GenderBlending, Beursschouwburg, Brussels, Belgium November 6 - 9 Queer OS: Queerness as Operating System, American Studies Association Annual Meeting, Los Angeles, CA October 31 - November 22 Your Consent is Implied, New Shelter Plan, Copenhagen, Denmark October 28 - December 14 The Moving Museum Exhibition, Şişhane Otopark, Istanbul, Turkey October 18 Meme You and Everyone We Follow, Pratt Upload, Pratt Institute, Brooklyn, NY October 10 Performance as Resistance, conversation with Heather Cassils, videofag, Toronto, Canada October 4 - November 15 Reality Check, ULTRA, Udine, Italy September 27 - February 7 Theory of Colour, MUAC, Mexico City September 26 - 28 Inside the Mirror, Retune Festival, Berlin, Germany September 10 - 12 Beyond the Interface, ISMAR / Furtherfield, Munich, Germany August 1 - 14 The Moving Museum, Istanbul, Turkey July 28 Queer | Art | Film LA, Sundance Cinemas, West Hollywood, CA July 1 - October 12 NYC Makers: The MAD Biennial, Museum of Arts and Design, New York, NY June 22 We Know You Are Watching, Nothing To See Here, Denver, CO June 21 - 28 Hemispheric Institute of Performance and Politics Encuentro, Montreal, Canada May 19 - June 4 Facial Weaponization Suite: A Mask-Making Workshop, Museo Universitario Arte Contemporáneo, Mexico City May 9 - June 8 Dakar Biennale, Dakar, Senegal