33.97 x 33.97 cm
On Fire by Runo Lagomarsino comprises twenty pieces of parchment, each of which has had the contours and map of Brazil burned in stages. The work’s connection to Amazon deforestation is difficult to ignore. Yet still, it also engages in broader issues about the country’s fractures, such as the 2018 fire at Rio de Janeiro’s National Museum and the ongoing erasure of its past. The use of common household materials and instruments in a printmaking-like process places it squarely within a conceptual space aimed at destabilizing hierarchies. Victor Grippos’s 1972 Construction of a Traditional Rural Oven for Making Bread [Urban Action] is linked to the work embodied by free loaves of bread that Grippo distributed as an inflammatory gesture toward Argentina’s ruling military power. The images created by Lagomarsino are physically created in an oven, implying the fragility of geopolitics and the necessary destabilization of regimes.
Runo Lagomarsino’s installations, sculptures, and films provide alternative perspectives on historical, political, and cultural power dynamics. His work, which is concerned with how power relations have manifested in colonial contexts, calls hegemonic versions of history into question, particularly in South America. As a result, he frequently deviates from the images generated by these histories to displace and transform them. On the other hand, the artist does not seek to tell other stories, reveal hidden truths, or create new historical narratives from a colonized perspective. Instead, it aims to rewrite the same stories, exposing contradictory dependencies and complex political dynamics.
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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...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
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...
The series West (Flag 1), West (Flag 3), and West (Flag 6) continues da Cunha’s ongoing exploration of the form’s various vertical, horizontal, and diagonal stripes...
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) ...
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...
Calle’s drawings all inhabit received forms but alter them to call attention to specific qualities...
This series of photographs reflects Marcelo Cidade’s incessant walks or drifting through the city and his chance encounters with a certain street poetry like the Surrealists or Situationists before him...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
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...
Consuegra’s Colombia is a mirror made in the shape of the artist’s home country—a silhouette that has an important resonance for the artist...
Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...
The series Nightmare Wallpapers represents a shift if Chuen’s practice, allowing the artist to immerse himself in an “artistic pilgrimage of self healing” following the failure of the 2014 Umbrella Movement...
Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ...