These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory. Gupta created each map by superimposing 100 separate drawings of each country. The project investigates modern notions of the nation-state, national identity, and borders by looking at countries in which boundaries are contested and the history of the land far precedes such ideas.
Mumbai-based Shilpa Gupta’s practice crosses disciplines and media to include interactive videos, websites, objects, photographs, sound, and public performances. Probing and examining themes such as desire, religion, tradition, gender, global capitalism, social injustice, security, borders, and power, Gupta actively engages herself with the political and cultural world around her.
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
Migrant Ecologies Project: A Grain of Wheat Inside a Salt Water Crocodile | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Grain of Wheat July 8, 2019 Our neighbour, the Svalbard Global Seed Vault, was under reconstruction during our time in Norway in order to make the vault more resilient against melting glaciers and water leakage...
Animals — Galerie Loevenbruck — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Animals — Galerie Loevenbruck — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Animals Exposition Techniques mixtes Vue de l’exposition Animals, galerie Loevenbruck, Paris © Photo Fabrice Gousset, courtesy Loevenbruck, Paris Animals Encore environ un mois : 17 novembre 2023 → 20 janvier 2024 « Animals » est une exposition collective qui rassemble des œuvres d’art de différentes cultures et époques, toutes explorant le thème de la figure animale...
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall...
Tino Sehgal’s This Exhibition requires an interpreter (in this particular piece, a gallery attendant) to faux faint each and every time a visitor enters into a given space...
La Cultura de la Felicidad (The Culture of Happiness) is a series of five photographs addressing everyday life—a couple in a bed, lovers on a bench and a family reunion...
Hama Goro works with a traditional method called the Bogolan technique, which is inspired by a method used in Mali to color clothes...