Trained as an architect, Alÿs turned to a visual arts based practice in the early 1990s as a more immediate, direct, and effective way of exploring issues related to urbanization, to the ordering and signification of urban space and to the semiotics of its use. His work initiates with a simple action, either by him or others, which is then documented in a range of media. Alÿs explores subjects such as modernizing programs in Latin America and border zones in areas of conflict, often asking about the relevance of poetic acts in politicized situations. Documentation is central to his practice as well as painting, drawing, and video. In his work, When Faith Moves Mountains (2002) made in collaboration with Mexican critic Cuauhtemoc Medina, Alÿs recruited 500 volunteers outside of Lima, Peru. Each person moved a shovel full of sand one step at a time form one side of a dune to the other, and together they moved the entire geographical location of the dune by a few inches. Critic Jean Fisher linked Alÿs’ work to the radical event of precipitating a crisis of meaning, where the exposure of a void of meaning is confronted by its social situation, leading up to some kind of truth. Francis Alÿs was born in Belgium in 1959. He lives and works in Mexico City.
Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
Blind Spencer is part of the series “Blind Stars” including hundreds of works in which the artist cut out the eyes of Hollywood stars, in a symbolically violent manner...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
The first iteration of Flutter was specifically conceived for the Pro Arts Gallery space in Oakland in 2010, viewable from the public space of a sidewalk, and the version acquired by the Kadist Collection is an adaptation of it...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Douglas Gordon’s single-channel video The Left Hand Can’t See That The Right Hand is Blind, captures an unfolding scene between two hands in leather gloves—at first seemingly comfortable to be entwined, and later, engaged in a struggle...
Blalock resists the immediacy that we have come to expect from photography—that each photograph should communicate its message without delay...
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
7-headed Lalandau Hat by Yee I-Lann is an intricately woven sculpture evoking the ceremonial headdress worn by Murut men in Borneo...
Compositions such as Tree on Keystone (2011) become hyperreal versions of their real-world equivalents...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
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...