Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society. Named after an American daytime soap opera that been running for over forty years, Days of Our Lives is a series of six photographs that explore contemporary Europeaness. Here, domestic, everyday scenes drawn from French paintings in the Museum of Fine Arts in Lyon——preparing food, relaxing, reading and playing music, giving charity to the poor, being evicted from home, or going off to War—are reenacted by Muslim Nigerians, Iranians, Turkish, and Buddhist Burmese minorities.
Born in Malaysia, Wong Hoy Cheong’s work examines the formation of his country’s multicultural identity vis-à-vis global migration, trade, colonialism, and the postcolonial circulation of people, ideas, and capital. His extended body of work uses various media—drawing, painting, performance, installation, video, and on-line projects—to critique the impact of these developments on contemporary life within and without South Asia. With the increasingly hegemonic domination of the media industry in everyday life, its systems of representation have become a central issue in Wong’s recent work, which oscillates between reality and fiction, irony and transgression—and gains a new strength in the process.
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 ...
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...
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....
Untitled (Women) (2011) presents a startlingly succinct history of violently romanticized femininity...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...
For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...
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...
Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
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...
In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...