450 Hayes Street (excavation site) by Marcelo Cidade is a large scale photograph documenting the artist’s excavation of a parking lot located at 450 Hayes Street in San Francisco, a former section of the city’s Central freeway and current condominium site. The cut shape mirrors the precise shape of the Kadist gallery floor, where the concrete was relocated as part of his residency exhibition entitled Somewhere, Elsewhere, Anywhere, Nowhere. Through this concrete graft, Cidade inextricably links the city with artwork. His installation observes while it also inscribes an entropic building situation within this specific place in the city, and simultaneously, any place in any city.
Marcelo Cidade is an artist of situations, if not a Situationist of a new age, as he drifts through city streets around the world creating actions, interventions, films, photographs or drawings. His interests lie in the possibilities of public space and its connection with the private sphere, he resists forms of constraint and moves freely within the human community and through urban environments. Questioning systems and working in the peripheries or interstices allows Cidade poetic freedom in his artistic practice and open engagement with language, art history and politics. In 2005, he wrote “To resist = to (re) exist” 2000 times in downtown São Paulo.
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) ...
The series West (Flag 1), West (Flag 3), and West (Flag 6) continues da Cunha’s ongoing exploration of the form’s various vertical, horizontal, and diagonal stripes...
In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) ...
Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
The Ballad of Special Ops Cody by Michael Rakowitz is a serio-comic stop motion animated film in which an everyday African-American G...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
Lara uses things readily at hand to create objects and situations that interrogate the processes of art and the spectrum of roles that art and artists play in society...
Do ut des (2009) is part of an ongoing series of books that Castillo Deball has altered with perforations, starting from the front page and working inward, forming symmetrical patterns when each spread is opened...
The photographer speaks with his brother, the journalist Jake Halpern, about growing up in a city of surreal sights and memorable characters....