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“Dark Clouds Of The Future” is a cinematographic video animation of the abandoned gold mine in Brazil, Serra Pelada (“Naked Mountain”). Thought to be one of the largest mines in the world, made famous by the photographs Alfredo Jaar and later by Sebastião Salgado, the hand-dug mine is now a mercury-polluted lake. During his research trip to Brazil, Pachpute met many former gold diggers who used to work at Serra Pelada, inciting his interest in the concept of the witness. The motif of the eye in “Dark Clouds Of The Future” is reference to witnessing and participating in the environmental destruction brought about by industrialization. The perpetual movement and transformation in Pachpute’s landscape suggests the continuous erasure of the natural environment, provoking fears and questions for the future articulated in the ominous clouds casting shadows across the mountain. The repetitiveness of the medium, the strokes of coal and pencil on paper, brought to life, as a cinemagraph is a sophisticated examination of the irreversible consequences for nature and man. “Dark Clouds Of The Future” puts into question the autonomy of the individual in the face of a global community whose actions devastate the natural environment.
Prabhakar Pachpute calls attention to issues concerning land politics, industry, and labor through a multimedia practice that includes drawing, painting, sculpture, animation, and murals. Best known for his site-specific charcoal wall drawings, Pachpute’s work references his own experiences growing up in a multi-generational coal mining and farming family. Employing surrealist motifs, the artist’s works are politically rooted depictions of characters that have experienced the seizure or ‘donation’ of their land for economic gain. Considering issues of exploitation through economic, social, and environmental lenses, the artist’s work critically reflects on evolving histories of familial attachment and physical ownership of agricultural and industrial resources.
Orang Phebien: Telling the story of the Baweanese | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Illustration: Hadi Osni August 5, 2020 Lesser known narratives involving migration in Singapore are in the spotlight with The Arts House’ latest edition of LumiNation ...
Primero estaba el mar ( First Was the Sea , 2012) is a system of equivalences between syllables and silhouettes of waveforms cast in cement...
Weekly Picks: Malaysia (16 – 22 July 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Malaysia July 16, 2018 Hua (華) Settler Imaginary in Borneo , at Malaysia Design Archive, 19 July 8pm Academic Dr Zhou Hau Liew presents ‘ Preliminary Thoughts on the Hua Settler Imaginary in Borneo: Cultural Mapping, Revolutionary Communism, and the Ideas of Chineseness ’...
A Jacob Lawrence Expert on a Profile of Him from ARTnews’s Archives – ARTnews.com Skip to main content By Alex Greenberger Plus Icon Alex Greenberger Senior Editor, ARTnews View All January 24, 2020 1:35pm George Chinsee Jacob Lawrence (1917–2000) was one of the deftest documentarians of African-American life in the United States, and over the next few years, people across the country will get a chance to see one of his greatest series of paintings, “Struggle: From the History of the American People” (1954–56), united in full for the first time...
Notebook 10 , l ‘enfance de sanbras (The Childhood of Sanbras) series by Kelly Sinnapah Mary is a sequel to an earlier series by the artist titled Cahier d’un non retour au pays natal (2015)...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
AI Artwork Projected on Historic Gaudí House Draws Nearly 100K People Skip to content Sofia Crespo, "Structures of Being" (2024), projection mapping at Casa Batlló (photo by Claudia Maurino, courtesy Casa Batlló) BARCELONA — Architect-designer Antoni Gaudí, legend of Catalan Modernisme, is often quoted as having said, “Nothing is invented, for it’s written in nature first.” Whether or not that’s apocryphal, his legacy suggested something holier than human at work...
Contrast to the bustling and unrelenting experience of a city such as Hong Kong, Chris Huen Sin Kan paints the tranquil interiors of his apartment, where he leads a modest and almost hermit-like life...
Although the objects depicted in Titus Kaphar’s diptych 2016/1963 might not be immediately recognizable, the work’s title and the inscriptions ‘Alabama 1963’ and ‘North Dakota 2016’ reveal their use as tools of brutal force...
Gregory Halpern spent five years shooting ZZYZX , and another year editing the results, from an estimated thousand rolls of film, about half of which were shot in the final year after his Guggenheim Fellowship enabled him to live in California...
Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City...
Tsumeb Fragments was produced for the exhibition at Kadist, “Comot Your Eyes Make I Borrow You Mine” in 2015...
Open Call for AE x Goethe-Institut Critical Writing Micro-Residency 2021/2022 | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints March 12, 2021 ArtsEquator and Goethe-Institut Singapore are pleased to announce the launch of the inaugural AE x Goethe-Institut Critical Writing Micro-Residency 2021/2022 ...