Nagtzaam’s medium is drawing and his repertory of forms varies from abstract hard-edge and wall drawing to the reproduction of written material that he collects from art magazines. The artist uses abstract architectural elements that he reproduces on the wall in which he inserts drawings, elements from photographs and drawings of texts collected from art magazines. The repetition, control and imperfection of the movements create a tension, a particular vibration in his geometrical drawings and in the drawings of texts. The idea of repetition, of a copy, appears as an essential ritual element and a ritual in the artist’s work process. Despite a kind of austerity and the evocation of a minimal and conceptual aesthetic, a light goes through his composition giving his work an organic dimension. Exhibition walls, random perspectives and frontal hangings provoke a sort of dizziness and of virtual upheaval. This work is composed of two wall drawings and three drawings on paper (a protocol allows the installation in different spaces). The artist’s idea is to merge different spaces together, to affirm their existence while denying it (confronting tangible and virtual space). The drawings hung in these spaces reproduces the traces of previous works, in memory of previous projects and past actions. The drawing made out of texts is a patchwork of fragments of sentences coming from Asian magazines. These fragments evoke a different place where the snippets of words complete and contradict each other, and seem to describe, explain as well as disappear. The architectural skeleton, its absence of density, suspends the time of physical experience. Wavering and steadiness are put to test in a strangely experienced period of time.
1968, Helmond, the Netherlands
For this floor based work, Gomes has taken two lengths of bamboo and tied them together using linen thread...
Rotation presents the image of a crowd, a re-appropriation of 19th or beginning of 20th century photographs published in newspapers and magazines...
Created during Zhao Renhui’s residency at Kadist SF in 2014, Zhao Renhui began observing and cataloguing insects inspired by the scientific impulse towards exhaustive taxonomy of Sacramento-based Dr...
En rachâchant is based on the short story Ah! Ernesto! (1971) by Marguerite Duras in which the child Ernesto does not want to go to school anymore as all that he is taught are things he does not know...
Proyecciones Espacio Odeón (Bogotá, Colombia) y Museo La Tertulia (Cali, Colombia) ¿Cómo enfrentamos la incertidumbre de estos tiempos? ¿Puede el juego, los sueños, o incluso las alucinaciones ayudarnos a imaginar otras posibles trayectorias? ¿Qué tipo de prácticas nos permiten relacionarnos con los territorios que habitamos? Tomando como punto de partida el potencial de lo inquietante en medio de una amenaza invisible, Sigo esperando es una serie de proyecciones en las fachadas del Espacio Odeón (Bogotá) y del Museo La Tertulia (Cali)...
Dale Harding’s installation Body of Objects consists of eleven sculptural works that the artist based on imagery found at sandstone sites across Carnarvon Gorge in Central Queensland...
Ambiguous Gestures takes as its point of origin a film Gmelin discovered in his father’s archive...
Until It Makes Sense October 15 – December 11, 2011 With: Saâdane Afif – Yto Barrada – Matti Braun – Matthew Buckingham – Peter Friedl – Mario Garcia Torres – Pratchaya Phinthong – Walid Raad Curator: Jean-Marc Prevost The exhibition gathers an ensemble of works from the Kadist collection which remain open to suspensions and to shifts in meaning...
In this installation, you are standing at the heart of a bicephalous space reflecting Goldin+Senneby’s main research led during their residency in Paris...
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...