Storage Associati (Italy) 2014
David Zwirner (b. 1965, Japan) Time Out London, Yutako Sone
"There’s something about rock that just begs to be carved and chiseled Maybe it’s to do with the arrogance of mankind that we need to manipulate the hardest of substances, that we allow nothing to be the master of us. From Stonehenge to Mount Rushmore, Michelangelo’s ‘David’ to Marc Quinn’s Fourth Plinth statue of Alison Lapper, humans have been stamping their artistic vision on to stone for millennia. The sculptures are also permanent images of impermanent places. Cities grow, change and sometimes even sink (ciao, Venice). Sone’s work manages brilliantly to walk a beautiful artistic tightrope between the powerfully permanent and dangerously fragile. Sure, the sculptures are essentially hugely indulgent, preposterous and (probably) stupidly expensive marble versions of Google maps. But they really are quite breathtaking."
Zach Blas (2011- Present)
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. The masks are used for public interventions and performances. One mask, the Fag Face Mask, generated from the biometric facial data of many queer men’s faces, is a response to scientific studies that link determining sexual orientation through rapid facial recognition techniques. Another mask explores a tripartite conception of blackness, divided between biometric racism (the inability of biometric technologies to detect dark skin), the favoring of black in militant aesthetics, and black as that which informatically obfuscates. A third mask engages feminism’s relations to concealment and imperceptibility, taking recent veil legislation in France as a troubling site that turns visibility into an oppressive logic of control. A fourth mask takes up biometrics’ deployment as a border security technology at the Mexico-US border and the resulting violence and nationalism it instigates. These masks intersect with social movements’ use of masking as an opaque tool of collective transformation that refuses dominant forms of political representation.