160 x 100 cm
Milena Bonilla’s discursive practice explores connections among economics, territory, and politics through everyday interventions. Her drawings, sculptures, and photography are active investigations into our often-fallible notions of history. Stone Deaf (2009) is a direct intervention into Karl Marx’s gravesite, for which the artist literally traced the history of Marx’s grave. She traveled to Highgate in London seeking the gravesite, only to find a plaque stating that Marx’s remains had been removed in 1954 to another part of the cemetery. She discovered that this had taken place at the behest of the British Communist Party, and that the deceased was now in a more prominent location, marked with a bust and a monument. Bonilla’s rubbing of the original plaque celebrates an anti-monument, so to speak, calling into question Marx’s life and legacy.
Milena Bonilla’s discursive practice explores connections among economics, territory, transit, and politics through everyday interventions. Her drawings, sculptures, installations, videos, texts, public interventions, and photographs are active investigations into our often-fallible notions of history. The artist’s current practice involves explorations of knowledge interpreted as a work force, and of nature as an entity colonized by language, consumed on a massive scale through images. For the last decade or so, Bonilla’s work has specifically explored the dichotomy of the Aristotelian categories of physis (nature) and logos (reason). The artist’s impulse to exert control over this relationship results in political armatures that ultimately seek to limit interactions between living systems, and to confront our biases regarding the relationships between thought and action.
Untitled (Wheelchair Drawing) is a ten-foot photo transfer of the image of a wheelchair with burning embers in its seat...
Walking Through is one of a series of videos—sometimes humorous, often absurd—that record the artist’s performative interactions with objects in a particular site...
Casa de la cabeza (2011) is a drawing of the words of the title, which translate literally into English as “house of the head.” Ortiz uses this humorous phrase to engage the idea of living in your head....
Brent Sikkema, the Manhattan art dealer renowned for representing artists such as Jeffrey Gibson and Kara Walker found dead The post Brent Sikkema – Visionary Art Dealer Of Jeffrey Gibson And Kara Walker Murdered appeared first on Artlyst ....
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
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...
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...
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...
Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure...
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...
Defined as entropy, the second law of thermodynamics proposes that energy is more easily dispersed than it is concentrated...
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...
Ongoing Time Stabbed with a Dagger was Farmer’s first kinetic sculpture that added a cinematic character to an “ever-reconfiguring play presented in real time.” The assembly of various objects and props on top of a large platform constitutes not only a work, but, to a certain extent, a show in itself...
The Last Post was inspired by Sikander’s ongoing interest in the colonial history of the sub-continent and the British opium trade with China...
Itch explores the relationship between technology and daily human experience with a motorized arm that extends from within the gallery’s wall, moving up and down while holding a projector that shows a desperately scratching pair of hands....
Hand Palm Echo 1 is a digital animation based on Christine Sun Kim’s staircase mural at The Drawing Center in New York (10 March – 22 May, 2022)...
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....
Part of a larger series of photographic works, Alessandro Balteo Yazbeck’s Corrupted file from page 14 (V1) from the series La Vega, Plan Caracas No...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
Untitled #242 is part of Houck’s Aggregates Series, which uses digital tools to manipulate chosen sets and pairs of colors, creating colorful index sheets, bathed in colors and lines...