Surveillance and Identity in the Age of Digital Face RecognitionOn show from 18 September until 10 October.
Opening hours: 12:00 - 17:00 Wednesday till Sunday
Face Value investigates the changing meaning of the human face in a digitised society where our portraits are continually captured and screened.
Human encounters are increasingly taking place online. Facial recognition is happening everywhere – whether on phones or at border control – machines are continuously digitising and analysing human faces. Our faces are no longer only channels of human interaction: they are passwords, data containers, and targets of state control.
Whether you’re walking along the street, posting a selfie or taking part in a demonstration, there’s a constant risk that information about your face is being saved to a database and analysed by facial recognition software. Because this usually happens remotely the process tends to be invisible to you, so you probably won’t be aware of just how much information is being captured. Decisions about when, why and how you are identified are not neutral – they are defined by structures of in- and exclusion. Biometric technologies identify individuals based on their physical and behavioural traits, but research shows that biometric systems are biased. They can amplify racism, sexism and other forms of discrimination. Face Value is a response to these urgent questions:
How does the continuous screening, capturing and digitisation of our faces, voices and emotions impact how we value them?
What are the socio-political consequences of using algorithms that reduce your face to a digital barcode, and that make assumptions about your identity based on how you look?
Is it time to reclaim our faces?
IMPAKT presents five artistic positions that critically investigate the way technologies capture facial information; the social, political and cultural consequences of the phenomenon; and how we can reclaim our faces. The artworks invite you to reflect on what gets lost when human bodies, voices and emotions are captured in binary code. Face Value also explores how facial technologies can be used in alternative ways that allow for intimate connections between technologies, physical bodies and communities.
Artists: Heather Dewey-Hagborg, Effi & Amir, Josèfa Ntjam, Martine Stig and Ningli Zhu.
Curator: Rosa Wevers (Utrecht University)
The exhibition Face Value has been generously supported by the City of Utrecht, Creative Industries Fund NL, Democracy and Media Foundation, Prins Bernhard Cultuurfonds, Pictoright Fund, and the Dutch Research Council (NWO) and takes place in collaboration with the Dutch Film Festival.
With the exhibition we organise the online panel “Face Value: The politics of facial recognition” on Monday 27 September, as part of the professionals programme of the Dutch Film Festival.
The concept for this exhibition was developed by Rosa Wevers as part of the Full Spectrum Curatorship Programme, IMPAKT’s training programme for emerging curators with a specific interest in media art and its relationship to technology and society.
Effi & Amir― Artist
Effi & Amir are artists and filmmakers active as a duo since 1999. Their projects span across several disciplines and combine video, performance and participatory strategies. Effi & Amir’s work is shown locally and internationally in museums, art centres and festivals. In parallel to their own practice they collaborate with other artists, filmmakers and choreographers as editors, cameramen and effect designers. They teach and conduct workshops with various audiences worldwide.
Heather Dewey-Hagborg― Artist
Dr. Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (such as hair, cigarette butts, or chewed up gum) collected in public places.
Josèfa Ntjam― Artist
Josèfa Ntjam is an artist, performer and writer whose practice combines sculpture, photomontage, film and sound. Gleaning the raw material of her work from the internet and books on natural sciences, Ntjam uses assemblage – of images, words, sounds, and stories – as a method to deconstruct hegemonic discourses on origin, identity and race.
Martine Stig― Artist
Martine Stig lives and works in Amsterdam. She studied at the Royal Academy of Fine Art (The Hague) and at the University of Amsterdam, Philosophy. She is interested in the entanglement of image, gaze and technology. Point of departure in her work is the photographic image; the voyeuristic act: photography (verb) and the autonomic product: photo (noun). Whilst using the medium (and moving away from it) she researches its role in the perception of reality.
Ningli Zhu― Artist
Ningli Zhu is a digital designer who is interested in media technology and social psychology. In her artistic practice, she explores visual storytelling of our hybrid identity while discussing the trans-individual relationship formed by intangible AI technology.
Rosa Wevers― Curator
Rosa Wevers is a PhD candidate at Utrecht University. For her research project 'Facing Surveillance: Artistic Strategies in Times of Control' she analyzes how contemporary art exhibitions confront visitors with critical perspectives on surveillance and engage them in strategies of resistance. Before starting her PhD, Rosa worked as a coordinator of the Museum of Equality and Difference (MOED) and the Gender and Diversity Hub of Utrecht University. Rosa is the co-host and co-producer of Kunstmatig, a podcast on art and technology.