71 x 35 x 24 cm
Gente Serpiente (Serpent People) is a piece made with the wheels of bikes, twisted, intertwined and painted like skins of tropical poisonous snakes. This sculpture, as well as other pieces by Mazenett and Quiroga, seeks to reveal and re-inscribe everyday and ordinary objects within a mythological tradition, to reconnect them with an origin in order to recognize their hidden life and meaning. These objects represent the life cycle and the animal, as well as cultural and geological time: long ago they were marine organisms and through the action of sand, sediment and mud, in oil, then in wheels they are transformed. Painted like snakes they recall the symbol of the eternal return, they refer to transformations that go beyond the obsolete distinction between natural and cultural objects.
Mazenett Quiroga have been working collaboratively in Bogotá, Colombia for the past nine years. In their projects, they explore the interrelationship between organisms and the misnamed “resources” of our environment and how these relationships are appropriated and distributed by means of culture. They reflect on temporality, origin, and symbolism of fundamental elements of the world economy, working with materials of fossil origin, such as tar, pitch, coal and a diversity of minerals. Omnipresent in our daily lives, minerals connect humans with remote geological times. The artists’ practice is informed by a close dialogue between mythology from Amazonian peoples and western science such as geology, astronomy, and economy, trying to reconnect ordinary and everyday elements with ancient knowledge and mythical time.
Sideways Time by Olivia Erlanger is the result of the artist’s interest in networks, seen and unseen, financial and ecological, the collapse of which has resulted in the fracturing of a middle class American identity...
To explore the boundaries between artwork and audience, Gimhongsok created a series of sculptural performances in which a person wearing an animal costume poses in the gallery...
It’s Time for French Museums to Return Cambodian Artifacts (via The Diplomat) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Radar Flickr/ Jean-Pierre Dalbéra December 28, 2018 The debate as to whether international museums and governments should return cultural artifacts acquired during the colonial period is not a new one...
10 Exhibitions to See During Black History Month | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
Careening Into “The Milk of Dreams”: Southeast Asia at the 59th Venice Biennale | ArtsEquator Skip to content While the stated theme of the Biennale is to challenge the hegemony of the West, Nicole Wong finds that the spaces created for these interventions to happen struggles against the behemoth of the Biennale itself...
Inside Roxane Gay and Debbie Millman’s Stunning Art Collecttion in New York and Los Angeles - Artsy Art Market Inside My Collection: Roxane Gay and Debbie Millman Ayanna Dozier Apr 2, 2022 9:34am Ayanna Dozier Apr 2, 2022 9:34am Roxane Gay is known for her laser-sharp wit in cultural criticism and nonfiction works, but lesser known is her growing practice as an art collector...
Explore the Next Generation of UK Artists with 'Present Tense' - FAD Magazine Skip to content By Mark Westall • 25 January 2024 Share — ‘Present Tense’ spotlights the next generation of artists living and working in the UK, from emerging to mid-career, celebrating a breadth of creative talent and socially engaged practices...
The series Castigos del caucho by Santiago Yahuarcani originates in the oral memory transmitted by the artist’s grandfather, who was a survivor of the Putumayo genocide where thousands of Indigenous people were annihilated and enslaved to extract rubber from the Amazon forest between 1879 and 1912...
ITI’s “Extremities”: Routes for Escape and Redemption | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Bernie Ng December 13, 2018 By Aditi Shivaramakrishnan (1170 words, five minute read) As I enter the Esplanade Theatre Studio to watch Extremities , I’m already on my guard...
Ciprian Muresan asked a group of protagonists to wear a monk’s robe and copy a certain number of artworks and texts from exhibition catalogues...
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
YUMA o la tierra de los amigos (YUMA, or the Land of Friends) by Carolina Caycedo is a large mural containing a series of satellite photographs mounted on acrylic...