In his paper-based work, Medellin-New York , Rojas uses coca leaves and dollar bills to spell out the words of the two cities, tied together through the illicit exchange of materials used to make the word, gesturing towards the uncomfortable reality of the drug trafficking trade and the complicity of both America and Colombia within that economic system.
For Colombian artist Miguel Ángel Rojas, issues of economic and social inequality in his native country provide fodder to his artistic practice. Looking at the stark contrasts between the opulent lifestyles of some and the meager existences of others in Colombia, Rojas employs a range of heavily loaded materials in creating two-dimensional works, sculptures, and videos alike.
L’effeuillage des effacements (The Stripping of Erasures) 2016, presents a piles of posters gathered in decreasing chronological order from 2015 to 2400 B...
Creative Time's First Think Tank Now Public - Creative Time Creative Time’s First Think Tank Now Public March 3rd, 2022 Tweet Email For the past year, the Think Tank has served as an incubator and forum for reframing conversations and decision making processes, premised on an understanding of arts and cultural spaces as necessary points of intervention toward wider societal transformation...
Ukraine is under tension due to the politics of President lanoukovitch since 2010...
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
In Ante la imagen (Before the Image, 2009) Muñoz continues to explore the power of a photograph to live up to the memory of a specific person...
In this two-channel video installation, Spaniards Named Her Magdalena, But Natives Called Her Yuma , Carolina Caycedo gathered footage during numerous research trips to dam sites in the Harz Mountains, Saxony, Westphalia and the Black Forest in Germany interspersed with images of the Rio Magdalena region in Colombia...
Carolina Caycedo’s practice conveys her very personal passion and relationship to water, as a powerful necessity and spiritual reminder...
In a style that is unique of Tokoudagba, he evokes the kings, gods and their symbols related to the earth, water, air and fire, usually on a white background...
The black-and-white projection, Araf by Didem Pekün, begins, as a lithe man stands high up in the middle of the grand, rebuilt 16th-century Ottoman bridge in Mostar, in Bosnia and Herzegovina...