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...
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...
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...
Hako (2006) depicts a mysterious and dystopic landscape where the world becomes flat: distance between different spaces, depth of field and three-dimensional perceptions are canceled...
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...
The version of Frontier acquired by the Kadist Collection consists of a single-channel video, adapted from the monumental installation and performance that Aitken presented in Rome, by the Tiber River, in 2009...
Calle’s drawings all inhabit received forms but alter them to call attention to specific qualities...
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...
War Footage is a series of wall-mounted works composed of 16mm film leader, tightly bound to flag-shaped panels by the artist...
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...
In Fordlândia Fieldwork (2012), Tossin documents the remains of Henry Ford’s rubber enterprise Fordlândia, built in 1928 in the Brazilian Amazon to export cultivated rubber for the booming automobile industry...
The Breaks reflects Capistran’s interests in sampling and fusing different cultural, social, and historical sources...
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...
To make his series Shadows (1980), Gaines subjected 20 potted plants to a uniform procedure...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Defined as entropy, the second law of thermodynamics proposes that energy is more easily dispersed than it is concentrated...