{"id":41595,"date":"2018-04-04T18:07:48","date_gmt":"2018-04-04T21:07:48","guid":{"rendered":"https:\/\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg"},"modified":"2022-06-01T17:23:53","modified_gmt":"2022-06-01T20:23:53","slug":"yazankhalili-hidingourfaceslikeadancingwind-2016-video-duration730-2","status":"inherit","type":"attachment","link":"https:\/\/revistazum.com.br\/en\/zum-magazine-9\/celso-garcia-avenue\/attachment\/yazankhalili-hidingourfaceslikeadancingwind-2016-video-duration730-2\/","title":{"rendered":"Yazan Khalili (Palestina, nascida na S\u00edria, 1981) desafia as suposi\u00e7\u00f5es contempor\u00e2neas sobre as apar\u00eancias de indiv\u00edduos associados a um determinado lugar, cren\u00e7a ou cultura. Seu v\u00eddeo <em>Escondendo nossos rostos como um vento dan\u00e7ante<\/em>, de 2016, utiliza software de reconhecimento facial para evocar as hist\u00f3rias de \u201cevid\u00eancias\u201d fotogr\u00e1ficas que serviram para identificar ou classificar indiv\u00edduos atrav\u00e9s de suas caracter\u00edsticas faciais. Yazan Khalili. <em>Hiding our faces like a dancing wind <\/em>. 2016 (still). V\u00eddeo (colorido, sem som), 7\u201930\u2019\u2019. 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Seu v\u00eddeo &lt;em&gt;Escondendo nossos rostos como um vento dan\u00e7ante&lt;\/em&gt;, de 2016, utiliza software de reconhecimento facial para evocar as hist\u00f3rias de \u201cevid\u00eancias\u201d fotogr\u00e1ficas que serviram para identificar ou classificar indiv\u00edduos atrav\u00e9s de suas caracter\u00edsticas faciais. Yazan Khalili. &lt;em&gt;Hiding our faces like a dancing wind &lt;\/em&gt;. 2016 (still). V\u00eddeo (colorido, sem som), 7\u201930\u2019\u2019. Cortesia da artista e de Lawrie Shabibi, Dubai. \u00a9 2018 Yazan Khalili\" href=\"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?ssl=1\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"169\" src=\"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?fit=300%2C169&amp;ssl=1\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?w=1440&amp;ssl=1 1440w, https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=300%2C169&amp;ssl=1 300w, https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=768%2C433&amp;ssl=1 768w, https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=1024%2C577&amp;ssl=1 1024w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" data-attachment-id=\"41595\" data-permalink=\"https:\/\/revistazum.com.br\/en\/zum-magazine-9\/celso-garcia-avenue\/attachment\/yazankhalili-hidingourfaceslikeadancingwind-2016-video-duration730-2\/\" data-orig-file=\"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?fit=1440%2C812&amp;ssl=1\" data-orig-size=\"1440,812\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Yazan Khalili (Palestina, nascida na S\u00edria, 1981) desafia as suposi\u00e7\u00f5es contempor\u00e2neas sobre as apar\u00eancias de indiv\u00edduos associados a um determinado lugar, cren\u00e7a ou cultura. Seu v\u00eddeo &lt;em&gt;Escondendo nossos rostos como um vento dan\u00e7ante&lt;\/em&gt;, de 2016, utiliza software de reconhecimento facial para evocar as hist\u00f3rias de \u201cevid\u00eancias\u201d fotogr\u00e1ficas que serviram para identificar ou classificar indiv\u00edduos atrav\u00e9s de suas caracter\u00edsticas faciais. Yazan Khalili. &lt;em&gt;Hiding our faces like a dancing wind &lt;\/em&gt;. 2016 (still). V\u00eddeo (colorido, sem som), 7\u201930\u2019\u2019. Cortesia da artista e de Lawrie Shabibi, Dubai. \u00a9 2018 Yazan Khalili\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Yazan Khalili (Palestina, nascida na S\u00edria, 1981) desafia as suposi\u00e7\u00f5es contempor\u00e2neas sobre as apar\u00eancias de indiv\u00edduos associados a um determinado lugar, cren\u00e7a ou cultura. Seu v\u00eddeo &lt;em&gt;Escondendo nossos rostos como um vento dan\u00e7ante&lt;\/em&gt;, de 2016, utiliza software de reconhecimento facial para evocar as hist\u00f3rias de \u201cevid\u00eancias\u201d fotogr\u00e1ficas que serviram para identificar ou classificar indiv\u00edduos atrav\u00e9s de suas caracter\u00edsticas faciais. Yazan Khalili. &lt;em&gt;Hiding our faces like a dancing wind &lt;\/em&gt;. 2016 (still). V\u00eddeo (colorido, sem som), 7\u201930\u2019\u2019. Cortesia da artista e de Lawrie Shabibi, Dubai. \u00a9 2018 Yazan Khalili&lt;\/p&gt;\n\" data-large-file=\"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?fit=1024%2C577&amp;ssl=1\" \/><\/a><\/p>\n"},"caption":{"rendered":"<p>Yazan Khalili (Palestina, nascida na S\u00edria, 1981) desafia as suposi\u00e7\u00f5es contempor\u00e2neas sobre as apar\u00eancias de indiv\u00edduos associados a um determinado lugar, cren\u00e7a ou cultura. Seu v\u00eddeo <em>Escondendo nossos rostos como um vento dan\u00e7ante<\/em>, de 2016, utiliza software de reconhecimento facial para evocar as hist\u00f3rias de \u201cevid\u00eancias\u201d fotogr\u00e1ficas que serviram para identificar ou classificar indiv\u00edduos atrav\u00e9s de suas caracter\u00edsticas faciais. Yazan Khalili. <em>Hiding our faces like a dancing wind <\/em>. 2016 (still). V\u00eddeo (colorido, sem som), 7\u201930\u2019\u2019. Cortesia da artista e de Lawrie Shabibi, Dubai. \u00a9 2018 Yazan Khalili<\/p>\n"},"alt_text":"","media_type":"image","mime_type":"image\/jpeg","media_details":{"width":1440,"height":812,"file":"2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg","sizes":{"thumbnail":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-150x150.jpg","width":150,"height":150,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=150%2C150&ssl=1"},"medium":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-300x169.jpg","width":300,"height":169,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?fit=300%2C169&ssl=1"},"medium_large":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-768x433.jpg","width":768,"height":433,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?fit=768%2C433&ssl=1"},"large":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-1024x577.jpg","width":1024,"height":577,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?fit=1024%2C577&ssl=1"},"destaque":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-705x510.jpg","width":705,"height":510,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=705%2C510&ssl=1"},"thumbs-small":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-220x190.jpg","width":220,"height":190,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=220%2C190&ssl=1"},"thumbs-home":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-220x275.jpg","width":220,"height":275,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=220%2C275&ssl=1"},"thumbs-medium":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-460x330.jpg","width":460,"height":330,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=460%2C330&ssl=1"},"thumbs-medium2":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-460x275.jpg","width":460,"height":275,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=460%2C275&ssl=1"},"thumbs-vertical":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-220x275.jpg","width":220,"height":275,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=220%2C275&ssl=1"},"sumarios":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-940x425.jpg","width":940,"height":425,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=940%2C425&ssl=1"},"post":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-620x415.jpg","width":620,"height":415,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=620%2C415&ssl=1"},"revista-zum":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-470x340.jpg","width":470,"height":340,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=470%2C340&ssl=1"},"revista-home":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730-223x277.jpg","width":223,"height":277,"mime_type":"image\/jpeg","source_url":"https:\/\/i0.wp.com\/revistazum.com.br\/wp-content\/uploads\/2018\/04\/yazankhalili.hidingourfaceslikeadancingwind.2016.video_.duration730.jpg?resize=223%2C277&ssl=1"},"wp_rp_thumbnail":{"file":"yazankhalili.hidingourfaceslikeadancingwind.2016.video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