88 x 88 cm (each)
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe. They become like abstract paintings that recall Modernist formal experimentation. They are somehow symptomatic of the circulation of goods and people that is made to sound so abstract. The commentaries of two Moroccan children that accompany the images reminds us about the fact that everyday candidates to emigration try to spot these buses that will cross the Strait. Many children hide there and undertake long illicit journeys. As is often the case in her photographs, Yto Barrada chose a square format that conveys immobility despite the reference to transport. They are flat, without perspective, like the numerous walls visible in her work. The loss of depth in things ensures that any pain consciously stays separate from the beauty of the images.
Yto Barrada is an artist of Morrocan origin who has worked for many years in Tangier, a urbanized border town influenced by the West. Her work is articulated around Tangier’s territory and raises questions on the city’s rapid infrastructural changes associated with economical development and real-estate speculation. Tangier, in a sense, is at the point of becoming a Moroccan Costa del Sol. “Le project du détroit,” a work that has granted her international visibility, consists of videos and series of photographs, in attempt to describe a city of transit and in transition. For a considerable amount of time, Tangier was the gate to Europe that Schengen closed in 1991. A meeting point between Europe and Africa, the strait of Gibraltar became a “larger Morrocan cemetary” that refugees and asylum seekers used to cross from Tangier. Her work reminds one of documentary reporting, yet with a poetic vision, far from exoticism and spectacle. In her work, the city’s inhabitants, or their traces, find themselves at the heart of her images. Yto Barrada was born in Tangier in 1971. She lives and works between Tangier and Paris.
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...
Rudolph Schindler’s designs, part of a practice he called “Space Architecture,” marry interior with exterior and space with light...
From the series the Old and the New (XI) by Carlos Garaicoa belongs to the series Lo viejo y lo nuevo / Das Alte und das Neue (The Old and the New) which was first exhibited in 2010 at Barbara Gross Gallery in Germany...
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
Black Curl (CMY/Five Magnet: Irvine, California, March 25, 2010, Fujicolor Cyrstal Archive Super Type C, EM No 165-021, 05910) is a visually compelling photogram...
Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California...
The five drawings included in the 101 Collection are representative of Pettibon’s characteristic cartoonish style...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
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...
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...