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Abstract
The adaptation of faces in visual culture, anthropology, and other disciplines is possible due to their atemporal nature and their plastic, changeful form. It is inspired by the needs of “facial society” (Macho, 1996) with the societal fixation on self-fashioning. Belting calls the mask “the medium of the face” as it visually and symbolically represents the person’s self. Through changing facial expressions, gaze, and voice modulation, a face becomes a construct based on staging or fashioning, that is, a mask. Belting emphasises that the simple dialectic of mask and self is superficial as the latter cannot exist independently (Belting, 2017, pp. 17–18). Masks take various shapes, like imprints, collages, found objects, photography, sculpture, and digital art, to answer current political, sociological, or aesthetical problems. The contemporary artworks keep their visuality and semantics up to date, adapting the phenomena of digital selfies, COVID-19 face masks, advanced AI technology, or the ecological crisis.
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