“Triple-Chaser” was created in response to the 2019 Whitney Biennial invitation, independent of the Whitney Museum, in protest of Warren B. Kanders’ involvement with the institution. Kanders, owner of the Safariland Group, whose tear gas grenades were used against civilians in the 2018 US border crisis, was also a vice chair at the Whitney. The project, made by Forensic Architecture and Praxis Films, aimed to highlight the opacity of the tear gas trade and its impact on human rights.
Using computer vision technology, Forensic Architecture trained a classifier to detect Safariland tear gas canisters in images shared online. Due to the rarity of images featuring the Triple-Chaser grenade, a digital model was created and placed in synthetic environments to simulate real-world usage. This allowed the team to automate the detection process, making it easier for human rights organizations to track the use of such weapons.
Presented as a video investigation at the Biennial, the project also revealed Kanders’ connection to violence against Palestinians in Gaza and his involvement in police repression in Puerto Rico during 2018 protests. The project not only critiqued Kanders’ role in the Whitney but also underscored the need for more transparency and accountability in the global arms trade.
“Triple-Chaser” is a powerful fusion of technology and activism, using computer vision to expose the hidden role of companies like Safariland in global violence. By leveraging digital tools, Forensic Architecture challenges traditional methods of activism, offering a more efficient way to track and hold accountable the manufacturers of “less-lethal” munitions. The project underscores the ethical responsibilities of art institutions, linking Kanders’ business interests to broader issues of corporate complicity in state violence. Through this innovative approach, the work calls for increased transparency and highlights the potential of art and technology to address urgent human rights issues.
