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 books belong to O Mundo dos Museus (The World of Museums), a collection conceived by the Brazilian designer Eugênio Hirsch in the 1970s. More than simply a catalogue of artworks, each offers the reader a promenade through a different world museum and its functioning, starting with photo reportage of the building, its urban landscape and architecture, the management and restoration of works, and visitors walking though the galleries. Collaged images of people alongside artworks indicate the works’ dimensions in relation to the human scale. The act of drilling into different institutional representations is a direct intervention into history itself, inviting us to question its representation. The title refers to a Latin phrase that applies to civil law, roughly translating as “I give that you may give back.” This allusion to a form of exchange, negotiation, and reciprocity applies as much to the relationship between the artist and the audience as to that between the artist and the object. The implication that the artist is giving the viewer something so that she will receive something back demands a level of critical reflection and interaction with the work. With these books, Deball infers that history gives these representations to us so that we can detour from them.
The practice of Mariana Castillo Deball (b. Mexico City, 1975) is centered on intensive research. In weaving together perceived facts and legends, the artist deconstructs how we understand tradition, liberating content from imposed ideological legacies. Mariana Castillo Deball’s collaborative research—in particular in the domain of science, geology, archaeology and literature—is manifested and synthesized into her multimodal sculptural practice. The archive is a significant aspect of the artist’s practice, whereby the research conducted in the creation of her sculptures is culminated, catalogued and preserved. Deball is not only interested in traces of the past, her multidisciplinary approach allows her to study the different ways in which a historical object can be read today.
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 perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
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...
Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...
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...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...
Charwai Tsai’s photograph documents her Hermit Crab Project installation upon the construction site of gallery Sora in Tokyo...
Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...
For Sentimentite Agnieszka Kurant collaborated with Justin Lane, CEO and Co-Founder of CulturePulse, to gather global sentiment data that has been harvested from millions of Twitter and Reddit posts related to 100 seismic events in recent history...
The American War , which takes its title from the Vietnamese term for what Americans call the Vietnam War, has toured the United States extensively with the goal of presenting a Vietnamese perspective of that history...
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...
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...
Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...
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...
Agnieszka Kurant’s Placebo VIII brings together a series of imaginary pharmaceuticals invented within the fictional narratives of literature and film...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...