<span data-sheets-value="{"1":2,"2":"14:22 minutes"}" data-sheets-userformat="{"2":15297,"3":{"1":0},"9":0,"10":1,"11":0,"12":0,"14":{"1":2,"2":0},"15":"Calibri","16":9}" style="font-size:9pt;font-family:Calibri, Arial;">14:22 minutes</span>
Set in the haunting space of an ex-colonial rubber plantation in Central Vietnam, Phuong Linh Nguyen’s film Memory of the Blind Elephant is a tender portrait of the complex economies of interspecies trauma and resilience in the face of continued extraction and destruction. Formerly present in the coronation of Potau Apui (the Jarai King of Fire), in Dr. Yersin’s exploratory crew during the colonial period, and now a major draw for tourists, the figure of the elephant is ailing, grievous, as though haunting its habitat. Intrigued by the reality she observed, Phuong Linh gathered, documented, altered, repositioned the local materials of ceaseless exploitation of natural resources: raw rubber, ferrosols, and aluminium to assert a critical proposition.
Phuong Linh Nguyen’s multidisciplinary practice spans video, sculpture and installation. Her practice is concerned with geographic cultural shifts, traditional roots, and the splintered history of Vietnam. Tracing a complex network of ethnicities, religions, and cultural and geo-political influences. Her works contemplate visible versus invisible truths, form and time, and conveys a pervasive sense of alienation, dislocation, and the ephemeral. Nguyen Phuong Linh often travels for field research and to collect artifacts from historical sites of exchange. She transforms these materials in order to construct alternative perspectives and interpretations of fragmented histories, personal narratives, and memories.
Redefining The Power (with Didi Fernandes) is a metaphor of how reflections on history and society during the Angolan Civil War (1975-2002) are largely ignored within the canon of history...
In her work, Maids Room (2012) which is part of a series, Daniela Ortiz undertakes an architectural analysis of the houses belonging to the upper class of Lima...
In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...
In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...
The Rebellion of Roots by Daniela Ortiz depicts a series of situations in which tropical plants, held hostage in the botanical gardens and greenhouses of Europe, are protected and nurtured by the spirits of racialized people who died as a result of European racism...
Future Tense (2017), a 16-page diary, is a project in the form of a newspaper that brings together 50 oracles by people from various political opinions and ethnicities who consulted sand, lead, tarot cards, coffee grounds, blank sheets of A4 paper, dreams, water, clairvoyance, astrology, pendulums and horoscopes in order to reveal the point that Turkey has reached in news casting...
Previously, Ortiz produced a series of photographs related to her research on the position of ‘service architecture’, the vital space given to domestic servants in the modernist architectural houses of South American upper class families...
In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
“While taking the picture it was challenging to make the boys sit properly without moving...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...
“When you position your hand on someone’s shoulder, your shoulders become straight and horizontal...
“Other photographers used to send me negatives of cross-eyed people, asking me to retouch them...
“These are negatives that were scratched because of a jealous husband from the Baqari family, who never let his wife out by herself...
“In the 1980s I started using coloured paper backdrops, one of which was yellow...
“The two men were relatives and both were in the Lebanese Army.” Hashem El Madani...