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...
Reborn, 2010 is a three-channel video by Desiree Holman that questions ideas of motherhood and the maternal instinct...
For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...
Like many of Larry Bell’s works, VFGY9 deals primarily with the viewer’s experience of sight...
The application of bright colors and kitsch materials in Flower Tree manifests a playful comment on the influence of popular culture and urban lifestyle...
7″ Single ‘Pop In’ by Martin Kippenbergher consisting of a vinyl record and a unique artwork drawn by the artist on the record’s sleeve...
In Dilemma: Three Way Fork in the Road , Wang references Peking opera in a re-interpretation of traditional text...
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...
Conceived as a large-scale mural-like projection, Color of History, Sweating Rocks is a neo-futuristic, hybrid film that combines cinematic language, collage, animation, and inventive forms to highlight the plight of the peoples of the Sahara—and refugees in general—who have been displaced by oil-mining....
Every work in Hoeber’s 2011 series Execution Changes is titled in alphanumeric code...
Dorsky’s pieces included in the Kadist Collection are small still photographs from twelve of his most important films...
Untitled (Construction) recalls the series of glass cubes that gained Bell international recognition in the 1960s...
Masks is a series of abstract paintings by Simon Fujiwara that together form a giant, fragmented portrait of German Chancellor Angela Merkel’s face...
Constructed out of metal or glass to mirror the size of FedEx shipping boxes, and to fit securely inside, Walead Beshty’s FedEx works are then shipped, accruing cracks, chips, scrapes, and bruises along the way to their destination...
In the work titled The Glossies (1980), an affinity for photography manifested itself before McCollum actually began to use photography as a medium...