In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry. When his rubber trees died from disease and his primarily indigenous workforce revolted, his enterprise went busts within a few short years. Ford never faulted his own planning, but instead blamed the “inhospitable” Brazilian landscape. These topographical maps present different locations related to Fordlândia’s history: a current Fordlândia satellite image of the abandoned rubber plantation built by Ford in 1928, juxtaposed with postindustrial landscapes from Detroit, Dallas, and Los Angeles, is printed on the back side of the folded mapsculpture.
Clarissa Tossin’s photographs, videos, and installations are active investigations into the workings of urban planning and labor politics. The artist draws poignant parallels among historical events, creating engaging narratives that are also often subversive. Many of her works are concerned with what could be called a topography of place. Focusing on the promises, legacies, and failings of modernity, globalism, and utopian idealism, much of her work concentrates on cultural and economic connections between the United States and Latin American countries. Tossin’s most recent artwork, Archaeology of the Present, investigates the link between Indigenous civilizations and current Los Angeles via the lenses of gender and appropriation.
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
Braga’s video work Provisão (2009) opens with a still shot of a clearing in a forest, shoots of grass emerging from a muddy brown patch of seemingly dry and barren earth...
N°001 Djoubi et sa meute is part of a series of photographs by Laura Henno titled Ge Ouryao! ...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
While his works can function as abstract, they are very much rooted in physicality and the possibilities that are inherent in the materials themselves...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
Matthew Buckingham presents a narrative directly connected with a highly symbolic site in the United States, the Mount Rushmore Memorial*...
San Pedro is a seaside city, part of the Los Angeles Harbor, sitting on the edge of a channel...
Bowers’ Radical Hospitality (2015) is a sculptural contradiction: its red and blue neon letters proclaim the words of the title, signaling openness and generosity, while the barbed wires that encircle the words give another message entirely...
Johanna Calle’s Abece “K” (2011) is part of a series of drawings (compiled into an artist book called Abece ) based on the alphabet...
The video Rubber Man continues exploring issues related to land use, also noticeable in his Untitled series (2011)...
Giant Rubber Duck artist on why size matters – ‘instead of us looking at it, it is now looking at us’ – and his miniatures on show in Seoul | South China Morning Post Advertisement Advertisement Art + FOLLOW Get more with my NEWS A personalised news feed of stories that matter to you Learn more Dutch artist and “Rubber Duck” creator Florentijn Hofman in Hong Kong in June 23 for the return of his giant inflatable artwork to Victoria Harbour, this time with a twin...
Defined as entropy, the second law of thermodynamics proposes that energy is more easily dispersed than it is concentrated...