Dr. N Song belongs Ozawa’s body of work The Return of Dr. N in which he follows a humorous fictional character based upon the historical figure Dr. Hideyo Noguchi who researched yellow fever in Ghana in 1927. Though Dr. Noguchi was known for his unruly temper and behavior and many of his discoveries were erroneous, he was widely revered in Japanese society. Ozawa’s Dr. N story explores links between Japan and Africa, past and present, fact and fiction, through the commissioned work of Ghanaian painters and musicians working in popular African styles.
Ozawa Tsuyoshi is a Japanese conceptual artist who constructs satirical takes on history. He often draws upon 1970s and 1980s Japanese history—the time of his childhood and Japan’s rapid economic growth. He co-founded with Chen Shaoxiong and Gimhongsok the artist collective “Xijing Men,” meaning people who come from the fictitious state of Xijing. Each of the artists consider historical events through images, installations, and performances.
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops...
Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
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...
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...
Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
A Flags-Raising-Lowering Ceremony at my home’s cloths drying rack (2007) was realized in the year of the 10th anniversary of the establishment of The Hong Kong Special Administrative Region of the People’s Republic of China...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...