With Roca Carbon ( Charcoal Rock , 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks. Traces of art history reverberate through the sculptures; their mediums reflect traditional materials for drawing and sketching, and the simplicity of their forms gesture toward minimalism. But López dislocates these common objects from their ordinary utility by replicating their component parts in paper, graphite, and charcoal, thus drawing attention to mechanisms of representation and translation.
Though he often works with paper and traditional techniques such as lithography, Mateo López is interested in expanding the scope of drawing and frequently operates outside of traditional studio situations to conjure personal experiences. His early studies in architecture equipped him to consider his medium in terms of time and space, and in three rather than two dimensions. The portability of López’s methods, along with his personal approach to collecting information from his personal journeys, has become a trademark of his installations. Drawings and trompe l’oeil objects, ranging from apples to clothing hangers to doors, extend beyond their sources of inspiration as sensuous entities, creating their own life in a Proustian narrative.
“Efficiency & Abyss 1” is part of a series of photographs of stacked chairs in an auditorium...
In the 2013 video work, Sitting Feeding Sleeping , Rose combines footage taken of zoo animals living in captivity with screen images that flicker and flash before us...
In Centro Espacial Satelital de Colombia (Colombian Satellite Space Center) , Calderón & Piñeros (La Decanatura) play tribute to two “stunning” satellite antennas installed in the small municipality of Chocontá where, in 1970, the Space Communications Center of Colombia was inaugurated...
This short looped-video NFT Invertebrate Interactions by Sofia Crespo aims to capture generated impressions of diatoms...
The black-and-white projection, Araf by Didem Pekün, begins, as a lithe man stands high up in the middle of the grand, rebuilt 16th-century Ottoman bridge in Mostar, in Bosnia and Herzegovina...
Originally a multi-channel video installation with sculptures and sound, this iteration of The Workshop by Gilad Ratman is a three-channel distillation of the expansive project that follows a group’s underground pilgrimage from Mt...
Rocket Society refers to a space project led by a group of Armenian researchers at the beginning of the 1960s...
Sara Eliassen’s video work A Blank Slate (2014) employs cinematic effect to investigate the relationships between subjectivity, gaze, and memory...
LaToya Ruby Frazier is an artist and a militant; her photos combine intimate views of her relation with her parents and grandparents with the history of the Afro-American community of Braddock, Pennsylvania, where she grew up and where her family still live...
Ana Roldán’s Primeval forms series looks up close at the fecund shapes of plants often found in the artist’s native Mexico...
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Cluster Illusion examines the brain’s tendency to recognize a pattern as something abstract...
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Michelle Handelman’s video work Irma Vep, The Last Breath takes its inspiration from Musidora, a famous French silent film actress, and a character she played called Irma Vep, from the film Les Vampires (1915), directed by Louis Feuillade...
Private Chinese art museum makes a comeback, 2 years after sponsor’s pull-out left it on life support | South China Morning Post Advertisement Advertisement Art + FOLLOW Get more with my NEWS A personalised news feed of stories that matter to you Learn more A preview of the auction for Guangdong Times Museum in January, held to raise funds for its relaunch...