53.54H x 53.54W inches
In Laissez-Faire (Rainbow Flag) da Cunha has turned a beach towel into both a painting and a flag. Where the printed surface of the towel originally served to enliven this commodity, here the pattern—now stretched and re-presented—suddenly refers to abstract painting’s promises of transcendence. And its crisply painted shape pulls the printed colors into the rectangularity of the canvas and, as da Cunha notes, the graphic iconicity of flags.
Alexandre da Cunha reinvents found objects in surprising ways that combine the material characteristics of Arte Povera with the concerns and techniques of painting. Da Cunha’s work often features flags—either as a found material per se or as a constructed form—that reflect the artist’s interest in issues of nationality, governmental politics, allegiance, and culture.
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...
Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...
For this floor based work, Gomes has taken two lengths of bamboo and tied them together using linen thread...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
In the six-minute single-channel video Higher Horse , Kate Gilmore perches herself on top of a tall pile of plaster blocks, in front of a pink colored wall with vein-like streaks of red...
Iron Sorrows (1990) brings together what are for Alexis Smith common motifs and materials such as scavenged and repurposed metal, and street signage...
Mapa-Mundi BR (postal) is a set of wooden shelves holding postcards that depict locations in Brazil named for foreign countries and cities...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
Cinthia Marcelle’s video work Automóvel (2012) re-edits the mundane rhythms of automotive traffic into a highly compelling and seemingly choreographed meditation on sequence, motion, and time...
Braga’s video work Provisão (2009) opens with a still shot of a clearing in a forest, shoots of grass emerging from a muddy brown patch of seemingly dry and barren earth...
Though not strictly representational, some objects in Untitled (1962) are recognizable: a flower, an egg, a foot...