In Suspension a young man is hanging in the air, falling, or perhaps drifting through time and space. There is no special or definite way to understand it. And it is in this construction where Morales envisions the world as an endless void, or timeless gravity, that we fall deeper and deeper into our own humanity.
Raised in an isolated location between the Atlantic Ocean and the Patagonian Desert, Sebastián Díaz Morales believes his upbringing led him to a very particular way of perceiving the world around him. Using different filmic techniques, from narrative film-like works to found-footage, he explores the relationship between large-scale socio-political power dynamics and individual objectives. His films are often surreal, include no dialogue, and create a tension between reality, fiction, and representation in a visually abstract way. Morales’s films and videos are oftentimes surreal where social reality is reflected in a form that is visually abstract and fantasy-based. Most of his works study the relationships between a large-scale socio-political power and the actions of individuals; they reflect the interactions between people and their environment and social structures. The methods that Morales uses are twofold – in his works he uses both prepared scripts and the uncertainties of real life. His camera is focused on capturing documentary material, but he also uses footage that is experimental and that comes from the realms of science fiction.
In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up...
Monteverdi Ici by Laure Prouvost is a non-narrative video work that depicts the back of the artist’s naked body standing, with her back towards the camera in a field...
His untitled paintings express his concern regarding perception in abstract form...
Haris Epaminonda’s work questions the manipulation and the flow of images as well as their power of fascination...
Untitled (San Francisco) was made in Idaho in 1984 and was facetiously dedicated to Henry Hopkins, the then director of the San Francisco Museum of Art who added “modern” to its name...
In her masterpiece 8 Possible Beginnings or The Creation of African-America , Walker unravels just that, the story of struggle, oppression, escape and the complexities of power dynamics in the history following slave trade in America...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
Tarantism is the name of disease which appeared in southern Italy, resulting from the bite of a spider called Tarantula...
The image is borrowed from protests during Civil Rights where African Americans in the south would carry signs with the same message to assert their rights against segregation and racism...
Charco portátil congelado (Frozen Portable Puddle, 1994) is a photographic record of an installation of the same name that Gabriel Orozco made at Witte de With Center for Contemporary Art in Rotterdam for the group exhibition WATT (1994)...
The five drawings included in the 101 Collection are representative of Pettibon’s characteristic cartoonish style...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
The five works included in the Kadist Collection are representative of Pettibon’s complex drawings which are much more narrative than comics or cartoon...
Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...