Institutional Attitudes, Irit Rogoff: On Being Serious in the Art World
Facial Weaponization Suite protests against biometric facial recognition–and the inequalities these technologies propagate–by making “collective masks” in community-based workshops that are modeled from the aggregated facial data of participants, resulting in amorphous masks that cannot be detected as human faces by biometric facial recognition technologies. (via Facial Weaponization Suite | zach blas)
There’s the “left-to-die boat”, where 63 migrants died in adrift in the Mediterranean in 2011, within an area under the observation of Nato as part of the then-revolution in Libya. Satellite images of the area were used to establish boat movement patterns, and commercial boating data was used to remove the boats with known identities from the picture. Mobile phone signals were used to triangulate the migrant boat’s drift, establishing its presence near many other boats – and therefore providing evidence for the charge that the crews of those boats committed a crime by failing to aid a vessel in distress. (via New Statesman | Returning the gaze: everyone’s a war reporter in an always-connected world)
Luke Willis Thompson
spray paint, garage doors from Mahia rd, Manurewa
"My last work was a set of three garage doors that were tagged by a Maori youth who was chased down and stabbed to death by the property owner, a white middle-aged vigilante. The doors were monuments and mute witnesses to an episode that many people in New Zealand really wanted to forget, but the details of the killing were achingly familiar in their design, almost to the point of being prototypical. So the project intentionally asked moral questions, though the only answer it offered was that the museums that exhibited the work helped to conserve the material evidence, so maybe the question could continue to be examined."