¿Quién medirá el espacio, quién me dirá el momento?, 1 (columna alfarero)

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 ...

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...

The artist writes about her work Borrando la Frontera, a performance done at Tijuana/San Diego border: “I visually erased the train rails that serve as a divider between the US and Mexico...

Based on historical prophecies and fantasy, the artist creates apocalyptic scenarios that posit an enigmatic world plagued by social, political, and environmental upheaval...

Untitled (City Limits) is a series of five black-and-white photographs of road signs, specifically the signs demarcating city limits of several small towns in California...

Pablo Rasgado’s paintings and installations serve as a visual record of contemporary urban human behavior...

Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...

Vallance’s Rocket is a vibrant picture in which masses of color and collage coalesce into a central vehicle, yet the whole surface seems lit with the roar of space travel...

Charwai Tsai’s photograph documents her Hermit Crab Project installation upon the construction site of gallery Sora in Tokyo...

Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...

Camil has made numerous paintings and photographs of halted projects along Mexico’s highways (she calls them “highway follies”), and of abandoned billboards that look like theater curtains dramatizing failed capitalist strategies...

Canned Laughter was Okón’s response to an invitation from Ciudad Juárez , Mexico, where artists were asked to create works based on their experience of the city...

This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...

Fridge-Freezer is a 2-channel video installation where Yoshua Okón explores the darker side of suburbia, d escribed by the artist as “ the ideal environment for a numb existence of passive consumerism and social a nd environmental disengagement...

Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...

Produced on the occasion of an exhibition at ARTIUM of Alava, Basque Centre-Museum of Contemporary Art, this deck of cards is a selection of images from Carlos Amorales’s Liquid Archive...

The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...

In line with Hernández’s interest in catastrophe, Vulnerabilia (choques) is a collection of images of shipwrecks and Vulnerabilia (naufragios) collects scenes of car crashes...

Mario Garcia Torres films a game of Charades among professional actors guessing the former North Korean dictator’s favorite Hollywood films...