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. In this film, Aiken’s allusion to “the frontier” and iconic imagery like the cowboy suggest that the American West Coast as a cultural construction. These notions are reinforced by two key elements in the film: its protagonist, the iconic West Coast artist Ed Ruscha, and its reference to the cinematic and the experience of the movie theater. The film is structured as a journey in time, from day to night. The completed film was shot in different places around the globe, including Los Angeles, Rome, South Africa, and Israel, which suggests the blurring boundaries of the unknown and emphasizes both fictive and real landscapes.
Doug Aitken’s work started to draw international attention when his installation Electric Earth earned the International Prize at the 1999 Venice Biennale, which was organized by renowned Swiss curator Harald Szeemann. Interested in breaking conventional narratives, Aitken emphasizes circularity and non-linearity in his monumental site-specific installations. This monumentality is usually expressed in Aitken’s tendency to combine apparently disconnected fragments in order to create epic films. Although this aspect of his work differs from the all-encompassing wholes sought by modernism, Aitken’s films play with the imaginary and surreal in a way that flirts with the notion of utopia. The artist uses pop culture and, especially, the film industry as sources for his compelling and immersive environments. Aesthetic elements such as coloration, light and space and a careful editing process give his films a contemplative mood.
Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...
Tree on the Former Site of Camera Obscura (1996) belongs to a series of large-scale photographs of trees taken by Graham and depicts a particular species that lives in Northern California...
Golia’s Untitled 3 is an installation in which a mechanical device is programmed to shoot clay pigeons that are thrown up in front of a white wall...
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...
The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...
Catherine Opie’s candid photograph Cathy (bed Self-portrait) (1987) shows the artist atop a bed wearing a negligee and a dildo; the latter is attached to a whip that she holds in her teeth...
The Tower of Babel is an installation of large-format photographs that forces the audience to occupy a central position through its monumental scale...
In this work, a woman sits on a couch with her shirt pulled up to expose her pierced nipples, which are connected by a chain...
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
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...
Hako (2006) depicts a mysterious and dystopic landscape where the world becomes flat: distance between different spaces, depth of field and three-dimensional perceptions are canceled...