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.
His Deck Painting I recalls the simplistic stripes of conceptual artist Daniel Buren, or the minimal lines of twentieth century abstract painting, but is in reality a readymade, fashioned from repurposed fabric of deck chairs...
Telescopic Pole is an adjustable telescopic pole that extends vertically from floor to ceiling and is held up by its own internal pressure...
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...
Justice (2014) presents viewers with a curious assemblage: a wooden gallows with slightly curved spindles protruding from the topmost plank, which in turn is covered with rudimentary netting, the threads slackly dangling like a loose spider’s web or an rib cage that’s been cracked open...
Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...
450 Hayes Street (excavation site) by Marcelo Cidade is a large scale photograph documenting the artist’s excavation of a parking lot located at 450 Hayes Street in San Francisco, a former section of the city’s Central freeway and current condominium site...
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...
Third Realm (2011) grew out of the artist’s long-term research of Indonesia’s colonial history and the processes of modernization and urbanization that have taken place there...
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
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...
De sino à sina (From Bell to Fate) is a six-channel sound installation by Carla Zaccagnini exploring the relationship between modern Brazil and its colonial past...
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...