Sal Sem Carne

Clarissa Tossin’s film Ch’u Mayaa responds to Frank Lloyd Wright’s Hollyhock House (constructed 1919–21) in Los Angeles, an example of Mayan Revival architecture...

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...

In this work the artist stages a humorously violent “intervention” against male-dominated cultures of art production in present-day China...

Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...

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 ...

Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...

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...

Shanghai Biennale, Awaiting Your Arrival is an appropriation of the posters made to promote biennial art exhibitions...

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...

Marcelo Cidade’s sculpture Abuso de poder (Abuse of Power, 2010) is a mousetrap elegantly crafted in Carrara marble...

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...

This work presents the image of an immolated monk engraved on a baseball bat...

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 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 ...

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...

The work “Les Fleurs d’intérieur” (which gives its name to the exhibiton presented at Kadist Art Foundation from May 30 to July 13, 2009) is a brass plate engraved with the inventory list of the works included in the show...

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...

De sino à sina (From Bell to Fate) is a six-channel sound installation by Carla Zaccagnini exploring the relationship between modern Brazil and its colonial past...

Commissioned by the San Francisco Museum of Modern Art and riffing on the “I Want You” army recruitment campaigns of the 1930s and 1940s, Labat asked Bay Area residents to interpret the slogan and make their own demands of the public in a series of live performance auditions...

Marcelo Cidade interrogates the city, architecture and urban planning...