Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world. The video—located in an imagined contemporary Malaysian middle-class living room, a space of a fictive former imperial power—explores the precarious link between fact and fiction, fakery and authenticity by overlaying three believable, authoritative forms: a documentary, a website, and a realistic reconstruction of a contemporary home. It is rife with occidental colonial documents and exotic cultural artifacts—the trophy-evidence of Empire-making. The video parodies television networks and documentaries as researched authoritative forms of information. It begins by posing as a serious, believable work of non-fiction, but becomes increasingly unsettling with its inclusion of fictive events, memories, and histories around the urgent contemporary problems of migration, racism, power relationships, and empire making.
Born in Malaysia, Wong Hoy Cheong’s work examines the formation of his country’s multicultural identity vis-à-vis global migration, trade, colonialism, and the postcolonial circulation of people, ideas, and capital. His extended body of work uses various media—drawing, painting, performance, installation, video, and on-line projects—to critique the impact of these developments on contemporary life within and without South Asia. With the increasingly hegemonic domination of the media industry in everyday life, its systems of representation have become a central issue in Wong’s recent work, which oscillates between reality and fiction, irony and transgression—and gains a new strength in the process.
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall...
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 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...
Lockhart’s film Lunch Break investigates the present state of American labor, through a close look at the everyday life of the workers at the Bath Iron Works shipyard—a private sector of the U...
The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...
Martinez’s sculpture A meditation on the possibility… of romantic love or where you goin’ with that gun in your hand , Bobby Seale and Huey Newton discuss the relationship between expressionism and social reality in Hitler’s painting depicts the legendary Black Panther leaders Huey P...
South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....
Sarcastically titled to call attention to the problematic notions underlying colonialism, this photograph shows hundreds of Native Malaysians seated quietly behind one of their colonial oppressors...
7-headed Lalandau Hat by Yee I-Lann is an intricately woven sculpture evoking the ceremonial headdress worn by Murut men in Borneo...
Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...