35.8H x 49.6W x 49.6D inches
Open Mind is a model created by Capote for a traversable public maze that, when seen from above, resembles the human brain. Because individual movement through the maze echoes the movement of neurons and a larger aggregated whole, visitors can be seen to enact a model of sociality and public space that both embodies and metaphorizes social consciousness. Capote’s model shows not just the proposed structure, but features figurines as well, to illustrate the possible scale and interactivity of the final piece.
Yoan Capote’s sculptural work often resembles but alters common forms, such as shoes, ladders, and furniture. Many of Capote’s pieces deal with Cuba and its relationship to the United States, referring to economic and cultural ties. His work also has a strong erotic element, depicting desire both between the countries and embodied sexuality. This facet of Capote’s work combines with and changes the minimalist forms that his pieces often assume, subverting their spareness.
Untitled (Grate I/II: Shan Mei Playground/ Grand Fortune Mansion) is part of a series drawn from architectural objects that mark the boundary of public and private spaces Wong encountered while strolling in Hong Kong...
The Possibility of the Half by Minouk Lim is a two-channel video projection that begins with a mirror image of a weeping woman kneeling on the ground...
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...
The image of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
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...
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...
Reborn, 2010 is a three-channel video by Desiree Holman that questions ideas of motherhood and the maternal instinct...
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...
Empire’s Borders II – Passage and Empire’s Borders II – Workers are from the three-channel film installation Empire’s Borders II – Western Enterprise, Inc...
Los rastreadores is a two-channel video by Claudia Joskowicz narrating the story of a fictitious drug lord, Ernesto Suarez, whose character is based on the well-known Bolivian drug dealer, Roberto Suárez...
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 ...
White Corner (2006) is a video installation, projected on two protruding perpendicular walls...
In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...
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...
Concerned with the early history of Singapore, Zai Kuning spent many years living with and researching the history of the Riau peoples who were the first inhabitants of Singapore...