Dimensions variable.
A residency program in the blazing hot city of Honda, Colombia, inspired artist Nicolás Consuegra to consider the difficulty in understanding the needs of a distant community. An important town during the colonial era as the main port on the Magdalena River, Honda is presently rife with poverty, unemployment, and environmental deterioration. Here he produced the work Nadie sabe de la sed con que otro bebe (No one knows the thirst with which another drinks) , a variable arrangement of cut glasses in front of a mirror so that they appear whole. The title, a popular euphemism taken literally, affirms the impossibility of knowing another person’s experience. In a mirror reflection the glasses appear to be complete, manifesting an innate human paradox: a reflection of unity, but only as reversed projection or doubling.
Nicolás Consuegra (b. 1976, lives in Bogotá) explores the contradictions of modern visual culture through his photographs, sculptures, paintings, and installations. Much of his work deals with subtle differences between one thing and another, whether they are visual differences or semiotic shifts.
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages...
Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video...
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...
Casa de la cabeza (2011) is a drawing of the words of the title, which translate literally into English as “house of the head.” Ortiz uses this humorous phrase to engage the idea of living in your head....
Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...
Relying on repetition and repurposed materials, Soares works to interrogate time—its measurement, its passing, and its meaning...
Juego de Banderas (a play on words that loosely translates to both set of flags and game of flags) is a triptych of modified Colombian flags by Antonio Caro...
Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...
Primero estaba el mar ( First Was the Sea , 2012) is a system of equivalences between syllables and silhouettes of waveforms cast in cement...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action...
Pak created New York Public Library Projects (NYPLP) (2008) during a residency in New York, using public libraries as exhibition spaces and the books they house as raw materials...
The work Calendars is composed of 1001 images of deserted public areas in Singapore printed on pages of a calendar set from the year of 2020 until 2096...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
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...