Disassembly

Type
Public Art
Interaction
Face
Body
Context
Outdoor
Year of Creation
2026

DISASSEMBLY is an interactive installation that explores the fragmentation of human identity in the age of artificial intelligence.

https://player.vimeo.com/progressive_redirect/playback/1229212159/rendition/1080p/file.mp4%20%281080p%29.mp4?loc=external&signature=92ff8062276833819e9487ec0a9fd76559cf64d01743f6bfa2686bdf846a1f74
https://player.vimeo.com/progressive_redirect/playback/1229198452/rendition/1080p/file.mp4%20%281080p%29.mp4?loc=external&signature=c3b494a7d806413b95fd58f1814d601b70b28e0ab38d52b9ff5d9c6051fdeaaf
https://player.vimeo.com/progressive_redirect/playback/1229215114/rendition/1080p/file.mp4%20%281080p%29.mp4?loc=external&signature=a6d01e86b33d77c9447013c988d663dcd9fa800044e8b17be6f9c6391b29f748

The system isolates and magnifies a part of each participant’s face, layering it with digital patterns across a giant screen. While each visitor instinctively recognizes the fragment they control, everyone else only sees anonymous facial features that seem to be disconnected from the people standing before them.

A second surprise layer of interaction extends this fragmentation to the body. As participants move around the mosaic, small tiles of facial fragments accumulate into their abstract silhouettes that follow their movements across the screen. When no one is present, these fragments shrink and multiply, filling the entire display with a field of visual noise reminiscent of digital static.

By reducing the face to anonymous data, DISASSEMBLY explores a future where human presence is no longer perceived as identity, but as information to be captured, analyzed and repurposed. Creating the unsettling sensation of being continuously observed and tracked, the work questions how artificial intelligence is increasingly interpreting humanity not as individuals, but as datasets from which new systems, information and realities are constructed.

Presented at
2026, Village Numérique, MUTEK, Montreal, Canada

Technologies

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