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...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
Uncertain Pilgrimage is an ongoing project in which Moore draws from his unplanned travels in recent years...
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...
Paint and Unpaint is an animation by Kota Ezawa based on a scene from a popular 1951 film by Hans Namuth featuring Jackson Pollock...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Central Station, Alignment, and Sumo are “situation portraits” that present whimsical characters within distorted and troubling worlds...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
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Federico Herrero’s energetic paintings reflect his experiences on the streets of his native San José, Costa Rica, and in the surrounding tropical landscape...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...