43.31H x 64.96W inches
Composed of four images, the series Sleeping Elephant in the Axis of Yogyakarta (2011) explores the artist’s observation of how Javanese mythology and cosmology have marked the geography of Yogyakarta, the cultural centre of Indonesia. Through photomontage digital operation, an identical elephant is superimposed in front of iconic landmark of the city: Parangtritis Beach, Sultan Square, the City Monument and Mount Merapi. These four locations are spiritual symbols and the subject of cosmological beliefs in Indonesia and the imagery of elephant has long been considered as a cultural and religious icon. Closer observation reveals something uncanny about the images. On the one hand, the elephant is proportionally unbalanced in the composition and out of place; on the other, it is tilted, suspended and tied around a whimsical structure comprised of bamboo posts, wheels and wood slabs. The paradox created by the juxtaposition of the immobile and sacrificed elephant and the symbolic sites has a surreal and absurd effect, revealing the complexity and constraints of social and cultural conventions.
Working in photography and video, the Indonesian artist Wimo Ambala Bayang embraces the conceptual possibilities of digital image manipulation. With humorous overtones, his practice comments on cultural identity, cliché, and mythology, foregrounding familiar but often-ignored aspects of everyday life.
In No Title (Blue Chapel) Therrien has reduced the image of a chapel to a polygon...
Gabriel Kuri has created a series of works in which he juxtaposes perennial and ephemeral materials...
Tanaka’s unique understanding of objects and materials is reflected in the four photographs that document his Process of Blowing Flour ...
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Reborn, 2010 is a three-channel video by Desiree Holman that questions ideas of motherhood and the maternal instinct...
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Mapa-Mundi BR (postal) is a set of wooden shelves holding postcards that depict locations in Brazil named for foreign countries and cities...
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...
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions...
With Roca Carbón (Charcoal Rock, 2012) and Roca Grafito ( Graphite Rock , 2012), López plays with our relationship to inert and unremarkable objects such as rocks...
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Untitled is a work on paper by Martin Kippenberger comprised of several seemingly disparate elements: cut-out images of a group of dancers, a japanese ceramic vase, and a pair of legs, are all combined with gestural, hand-drawn traces and additional elements such as a candy wrapper from a hotel in Monte Carlo and a statistical form from a federal government office in Wiesbaden, Germany...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...