13:46 minutes
Home (good infinity, bad infinity) by Lêna Bùi sheds light on the experiences of those who live along, and on, the waterways of Saigon, Vietnam and Sharjah, United Arab Emirates. Vietnam is a tropical country of major sand extraction; the UAE a desert country of major land reclamation. Scenes of the Saigon river being heavily eroded due to industrial machines mining sand for construction of skyscrapers are interspersed with images of concrete jungles, and aerial views of Saigon and Sharjah varying in scale and style. Waterways here are material resources but also conduits of trade, as boats of all-purpose move and dock within each city’s ports. Humans live within these industrializing landscapes, in one context seemingly squeezed out of the bounds of a city whose ‘progress’ has designed space assuming ‘one size fits all’; and in the other, generationally at odds with a youth whose attitudes towards cosmopolitan cities struggles with the desire of its elders to enliven cultural traditions. This work continues the artist’s investigation of the geopolitics of water in differing cultural contexts, revealing the everyday impact of globalizing processes of extraction and its environmental and social ramifications.
Lêna Bùi engages our perception and relationship to the natural world that we intrinsically rely on and belong to. She asks us to think deeper of our spiritual and physical understanding of what is good and bad, useful and useless, and of what is assumed natural by marketable standards versus what is natural in nature, in order to reveal the social impact of such attitudes on producers and consumers. Spanning painting, drawing, video, film and sculpture, her works are often made in collaboration with a particular community (from farmers to scientists, from shamans to mothers and more), connecting rural and urban contexts that benefit from little comparative studies otherwise. Lêna Bùi’s work seeks to challenge and broaden our assumptions about the impact of human progress and to reveal the endurance and resilience of cultural practices confronted with the industrializing demands of a capitalist economy.
Like an Attali report, but different June 15 – July 27, 2008 Curator: Cosmin Costinas With: Yael Bartana, Gregg Bordowitz, Heman Chong, Ciprian Muresan, Deimantas Narkevicius, Redza Piyadasa, Pushwagner, Anatoli Osmolovsky, Mona Vatamanu & Florin Tudor The Attali Report (or the Report of the Commission for the Liberation of French Growth), commissioned by President Sarkozy, was published half a year ago, provoking a long series of discussions, mainly confined to the French public arena and mainly focused on the report’s concrete proposals, set to implement a neoliberal model for the French economy and society...
During Summer 2011, few months after the nuclear accident, performance artist Kota Takeuchi got a job at the Fukushima Daiichi plant and kept a blog about the labour conditions of clean-up workers...
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These two images come from the series called “State of Control” which Kilpper made in the building formerly occupied by the Stasi in Berlin...
Weekly Picks: Malaysia (26 Nov – 2 Dec 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Weekly To Do November 26, 2018 Symposium – How Easily Modernism Could Be Disturbed , at ILHAM Gallery, 1 Dec, 10am–6:30pm A symposium in conjunction with the Latiff Mohidin: Pago Pago (1960–1969) exhibition in the gallery...
In New York City’s Chinatown, subject Suat Ling Chua’s morning exercise is to practice the hula hoop...
246247596248914102516… And then there were none narrates a semi fictional account centered around the ambiguous history of the Democracy Monument in Bangkok, and on the aftermath of the 1973 demonstration of 400,000 people who marched against the military junta from Thammasat University to the monument...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Yannig Hedel — At First Glance — De Prime Abord — Galerie Bigaignon — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Yannig Hedel — At First Glance — De Prime Abord — Galerie Bigaignon — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Yannig Hedel — At First Glance — De Prime Abord Exposition Photographie Yannig Hedel Courtesy de l’artiste et galerie Bigaignon, Paris Yannig Hedel At First Glance — De Prime Abord Encore 27 jours : 25 janvier → 9 mars 2024 Après les expositions Midi et quart en 2018 et Passé composé en 2021, nous sommes particulièrement heureux de présenter De Prime Abord, la troisième exposition monographique de Yannig Hedel à la galerie...
Masterpiece in the Water by Lu Pingyuan tells the story of an impatient collector who is killed by an artist...
To produce the series of sculptures collectively titled Utarand , Prabhakar Kamble relocated his studio to Kolhapur, Maharashtra, near the village where he was born into a family of daily wage earners...
Calderón & Piñeros (La Decanatura) refer to Sólheimasandur as a work that tackles the issue of “the ruin as a tourist destination.” As they say, “at the end, tourists become an essential part of this unusual, beautiful, and—at the same time—banal landscape.” The video features a plane wreck on Sólheimasandur beach in Iceland, where a navy plane belonging to the United States Army crashed in 1973 due to fuel exhaustion...
Artists' Postcards: A Compendium, By Jeremy Cooper | The Independent | The Independent Of interest to students of art and deltiologists (collectors of postcards) alike, Jeremy Cooper's extensively illustrated book provides the first critical study of the place of the humble postcard in the history of art...