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.
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...
In Thomson’s Untitled (TIME) , every front cover of TIME magazine is sequentially projected to scale at thirty frames per second...
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...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
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...
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
450 Hayes Street (excavation site) by Marcelo Cidade is a large scale photograph documenting the artist’s excavation of a parking lot located at 450 Hayes Street in San Francisco, a former section of the city’s Central freeway and current condominium site...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
Starting with Bruce Nauman’s iconic artwork, The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) , Mungo Thomson’s neon sign is one of a series that replaces Nauman’s quixotic mini-manifesto with aphorisms from ‘recovery’ culture, especially those made popular by alcoholics anonymous...
Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist...
With a habit of reading eight to ten books at the same time, Chong paints his two-foot tall novel covers through referencing an extensive reading list (accessible on Facebook) he has kept since 2006...
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...
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...