Abstract

Masks, balaclavas, eye masks, and various accessories have been consistently used to hide the face, from Greek times through the grotesque of the Middle Ages to the Latin American theatre festivals of the 1980s. In the twenty-first century, technological advances such as facial recognition, which are being used for the biopolitical control of the face, caused activists to start developing different mechanisms to cover their faces in public spaces. In other words, the mask is not used solely as a device that builds unique aesthetic-political senses but is also used to avoid being captured by surveillance cameras. The aim of this paper is to identify some of the masks used by activists in Latin American public protests, generating new signs that circulate widely in the semiosphere such as physiognomy, representation, and evocation. For this, we will return to Juri Lotman’s proposal on the semiosphere and the notion of facesphere developed by José Finol, concepts that operate as epistemological and heuristic frameworks that allow understanding the concrete meaning production processes as a global dimension and not only a particular one. What faces are hidden and what physiognomies are shown in the social protest? What borders are established? What political and aesthetic meanings do they build? These are the questions that this paper attempts to answer from a perspective of cultural semiotics.