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...
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 work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
The White Album (2008) presents a compilation of one hundred issues of Artforum magazine released between 1970 and 1979...
Collectors’ Favorites is an episode of local cable program from the mid-1990s in which ordinary people were invited to present their personal collections—a concept that in many ways anticipates current reality TV shows and internet videos...
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...
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...
In his project Instituto de Vision (2008), Consuegra investigates how modernism gave rise to many new technological forms of vision, most notably the camera, yet also resulted in the disappearance of outmoded forms of vision...
For this floor based work, Gomes has taken two lengths of bamboo and tied them together using linen thread...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...