194 x 97 x 89 cm
A steel clothing rack adorned with turbine vents, Moroccan vintage jewelry, pinecones and knitting yarn, these heterogeneous elements are used here to create an exotic yet undefined identity within the work. Following Haegue Yang’s 2010 anthropomorphic series Medicine Men, this sculpture appears as a shamanic objet or being. It is mobile and can be activated. One can turn the turbine vents or play the bells to liberate the work’s musical and magical potential. Yang’s work is strewn with performative elements: “it rolls or can be pushed, it folds up, it hangs, floats, dangles, or swings, it rustles, makes sound, or smells.” In this work, nothing is static; everything suggests movement and an unfurling, momentous display of contradiction and transformation.
Haegue Yang is one of the leading international artists of her generation. From mundane objects and materials such as venetian blinds, theatrical and decorative lights, infrared heaters, scent emitters, and fans, Yang creates complex and nuanced installations that are informed by poetry, politics, and human emotions. Her works explore hidden spaces that might be considered marginal, but to the artist constitute profound backdrops for understanding vulnerable sites where informal development can occur. In her works, artificial approximations of sensual experiences — heat, light, smell, and humidity—conjure other places, other people. Yang’s work captivates precisely because of its ambiguity, which is rooted as much in the conceptual art of the 1960s and 1970s as it is in current theoretical discourses.
In addition to Yang’s signature drying rack and light bulbs, Office Voodoo includes various office supplies like CDs, paper clips, headphones, a computer mouse, a stamp, a hole puncher, a mobile phone charger...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Untitled (Wall Street’s Chosen Few…) is typical of Pettibon’s drawings in which fragments of text and image are united, but yet gaps remain in their signification...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Choke documents the artist filming a wrestler “choking out” his teammate until he is unconscious...
The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle...
The five drawings included in the 101 Collection are representative of Pettibon’s characteristic cartoonish style...
Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
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The Illusion of Everything (2014) follows an unseen pedestrian as he navigates the Australian city of Melbourne’s dense and intricate network of laneways...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
The fashion designer is selling off all the art inside his West Village townhouse at Sotheby’s New York to make way for a new collection....
In Tapitapultas (2012), Donna Conlon and Jonathan Harker comment on mass consumerism and pollution by way of a game they invented...
In this photographic series, Yto Barrada was interested in the logos of the buses that travel between North Africa and Europe...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...