Sobre la igualdad y las diferencias: casas gemelas
2005 - Photography (Photography)
Carla Zaccagnini
This series of photographs, Sobre la igualdad y las diferencias: casas gemelas (On Equality and Differences: Twin Houses) , taken in Havana in 2005, belongs to a wider group of works that the artist has been developing over many years, generally titled Bifurcaciones y encrucijadas (Forking Paths and Crossroads) . These works are dedicated to the collection and investigation of similarities and singularities. Some focus on things that are supposed or expected to be identical, but end up being slightly different. Others focus on things that ought to be different but somehow obey similar principles. The photographs examine these issues on a temporal basis, for instance depicting groups of houses that were built to be the same but have been changed over the years according to the tastes, needs, and capabilities of their inhabitants. A playful, poetic quality underlies these displacements and juxtapositions, signifying subtle transformations of the everyday.
Carla Zaccagnini combines historical research with a variety of media and techniques. From drawing to installation, performance, text, video, exhibition curating, and written criticism, Zaccagnini investigates cultural exchange and social displacement, as well as the transformation of the symbolic value of images in contemporary culture. Zaccagnini views these multiple activities as mutually constitutive forms of inquiry that overlap to form a holistic, conceptually driven art practice. Often working by recontextualizing existing objects and ideas, she prompts viewers to question the limitations of language and representation, the fallibility of perception, and the construction of knowledge. Zaccagnini is part of a generation of Latin American artists that have addressed the political history of the continent and, more specifically but not exclusively, the history of Brazil. Having delved into the history of slavery, the influence of European aesthetics in Brazilian art, and its assimilation by indigenous cultures, Zaccagnini uses art as a conceptual instrument to undo the construction of history and the production of knowledge.
Colors:
Related works sharing similar palette
![The Louvre welcomes Renaissance masterpieces from Naples Capodimonte Museum](https://s.france24.com/media/display/a9eadac8-14ff-11ee-9770-005056a90321/w:1280/p:16x9/m:{"brand":"FRANCE24","lang":"EN","program":"","cartouche":"LOUVRE%20MUSEUM","hash":"3af03356f4fd4c2bb6b8471ef523492f75dfc8605e5d9876b31cb945e50d705f","title":"Renaissance%20masterpieces","id":"25aba80c-45fb-11ec-90e2-005056bf30b7"}/EN_20230627_161211_161436_CS.jpg)
© » FRANCE24
The Louvre welcomes Renaissance masterpieces from Naples Capodimonte Museum - France 24 Skip to main content The Louvre welcomes Renaissance masterpieces from Naples Capodimonte Museum Issued on: 27/06/2023 - 17:31 Modified: 27/06/2023 - 17:38 02:24 Video by: Catherine VIETTE Follow The Louvre museum is hosting masterpieces from the Capodimonte museum in Naples, offering the world's largest exhibition devoted to the Italian Renaissance for six months, along with its own collections...
© » ARTS EQUATOR
OPEN CALL: Southeast Asian Arts Censorship Documentation | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles September 16, 2021 ArtsEquator invites applications for the position of Researcher for a regional arts censorship documentation and publication project it is piloting...
© » KADIST
Ghita Skali
2020The Hole’s Journey by Ghita Skali follows a complex political satire involving a worn-out floor, a political activist, and the Ouled Sbita tribe of Morocco...
© » KADIST
Jordan Kantor
2009Eclipse is a series of screenprints from Jordan Kantor’s larger vitrine installation that included reworkings of a single image of a small group viewing an eclipse through shielding cut-outs...
© » KADIST
José Castrellón
2016Palo Enceba’o is a project by José Castrellón composed of three photographs, two drawings on metal, and a video work that creates a visual and cultural analogy between the events of January 9th, 1964 in Panama City and the game of palo encebado carried out in certain parts of Panama to celebrate the (US-backed) independence from Colombia...
© » KADIST
Sheroanawe Hakihiiwe
2019Wateoma husipe / Larvas de oruga / Caterpillar larvae by Sheroanawe Hakihiiwe exemplify his most abstract work, where he choses particular elements of a living organism to create his renditions...
© » KADIST
Mathilde Rosier
2003Rosier’s body of films, gleam with that indeterminate in-between glow of twilight...
© » KADIST
With Chrysanthi Koumianaki : 0’30 Baris Dogrusöz: 2’50 Pio Abad: 6’28 Alexandra Pirici: 10’50 And about Mariana Castillo Deball, watch her presentation at the San Francisco Art Institute: youtube.com/watch?v=McvttpeJXxg The exhibition “Conceal, cover with sand, replicate, translate, restore” presents artistic projects dealing with objects in situations of conflict, and their role as vehicle or witness...
© » KADIST
How have the social uprisings in Turkey during the last decade shaped the way we reimagine sites of everyday resistance? Can planting seeds constitute a political act? These questions mark the starting point of Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu (Istanbul, 1982)’s first solo exhibition in France which stems from her residency at KADIST in the beginning of 2020...
© » ARTS EQUATOR
SDEA Theatre Arts Conference Keynote Interviews: Drama lessons in a pandemic (Part 1) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints May 2, 2021 By Sarah Tang SDEA is holding its first fully online Theatre Arts Conference this year from 22 to 30 May...