459H x 305W x 3D cm (180 x 120 x 1.2 inches)
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail. These works epitomize the idea of perpetual movement and migration while carrying a deep personal meaning in the creative process, as the artist’s father himself, still living in Chile, mends and sends the sails to his son, living in Europe. The reversed position of the sail recalls both the shape of South America itself and the Eurocentric view that in the Southern Hemisphere, everything is “upside-down.” The stitches themselves create an illusion of an alternative political geography, and the framed-cuts impose a cartographic grid.
Enrique Ramirez’s highly politicized practice engages both personal recollections and gathered stories, questions notions of exile, displacement, loss of memory, and a changing sense of place. Growing up in Santiago, Chile, his father was a sail-maker and Ramirez’s process often returns to the sea to bolster his investigations of movement, discovery, and geo-politics. The artist describes art and filmmaking as methods to communicate the ways society moves in cycles, sometimes backward and sometimes forward, especially regarding issues of immigration, border politics, and national identity. His seductive films and installations are sites of contemplation and imagination in their depiction of boundless space and expansive landscapes.
 
                                    
                                    These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
 
                                    
                                    The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
 
                                    
                                    The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
 
                                    
                                    Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...
 
                                    
                                    Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
 
                                    
                                    The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
 
                                    
                                    In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall...
 
                                    
                                    The lengthy titles in Chen Xiaoyun’s work often appear as colophons to his photographs that invite the viewer to a process of self realization through contemplating the distance between word and image...
 
                                    
                                    For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
 
                                    
                                    South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
 
                                    
                                    For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
 
                                    
                                    Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
 
                                    
                                    In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
 
                                    
                                    The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...
 
                                    
                                    The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
 
                                    
                                    In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...