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...
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...
Made in cast bronze, Two Eyes Two Mouths provokes a strong sense of fleshiness as if manipulated by the hand of the artist pushing her fingers into wet clay or plaster to create gouges that represent eyes, mouths and the female reproductive organ...
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization...
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...
Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...
Human Quarry is a large work on paper by Leslie Shows made of a combination of acrylic paint and collage...
Primero estaba el mar ( First Was the Sea , 2012) is a system of equivalences between syllables and silhouettes of waveforms cast in cement...
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...
Houck’s Peg and John was made as part of a series of photographic works that capture objects from the artist’s childhood...
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)...
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...
This artwork was part of a group of projects presented in the Japanese Pavilion at the Venice Biennale in 2013...
Although seemingly unadorned at first glance, Yang Xinguang’s sculptural work Phenomena (2009) employs minimalist aesthetics as a means of gesturing towards the various commonalities and conflicts between civilization and the natural world...
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...
Johanna Calle’s Abece “K” (2011) is part of a series of drawings (compiled into an artist book called Abece ) based on the alphabet...
Destilaciones ( Distillations , 2014) is an installation composed of a group of ceramic pots, presented on the floor and within a steel structure...