Shanghai Biennale Awaiting Your Arrival

Biennale, Dog is an appropriation of the posters made to promote biennial art exhibitions...

The Illusion of Everything (2014) follows an unseen pedestrian as he navigates the Australian city of Melbourne’s dense and intricate network of laneways...

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 ...

In Jackass (2008) by Ari Marcopoulos, his two sons, Cairo and Ethan, are pictured relaxing in a disheveled bedroom in their Sonoma home...

Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...

Forest Gathering N.2 is part of the series of photographs Beneath the Roses (2003-2005) where anonymous townscapes, forest clearings and broad, desolate streets are revealed as sites of mystery and wonder; similarly, ostensibly banal interiors become the staging grounds for strange human scenarios...

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...

Retired Pillar represents the death and deterioration of legacy of colonial Shanghai...

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...

Sun Xun’s lushly illustrated, dynamic short film Mythological Time is a dreamy chronicle of rapacious industrial development, the mythical qualities of state propaganda, and the constancy of change, as experienced by an unnamed coal mining town...

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...

Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure...

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...

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...

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...

Herculine’s Prophecy by Juliana Huxtable features a kneeling demon-figure on what appears to be a screen-print, placed on a wooden table, which has then been photographed and digitally altered to appear like a book cover, with a title and subtitle across the top, and a poem written across the bottom...

In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...

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...

The Class (2005) by Araya Rasdjarmrearnsook challenges the viewer’s personal sense of morality and tolerance by depicting a classroom from hell...

As suggested by its title, Pipe Opening (2002) depicts a hole in a wood wall exposed by the removal of a pipe...