9 min 57 sec
The video Swimming in rivers of Glue is composed of various images of nature, exploring the themes of exploration of space and its colonization. The images show the diversity of forms of life on earth. These forms are associated with texts that relay a form of propaganda. Interviews are conducted, and often refer to the most urgent issues concerning humanity. The interviews are the revealers of fear and anxiety that contaminate the entire film. The video has the effectiveness of a propaganda film while opening us to irrational and poetic images, as can still be the theme of the conquest of space. Like all Aranda’s works, the purpose of this video is related to our experience of space that has been diverted to be thought of as a means of subjugation and control.
Julieta Aranda is a contemporary artist whose explorations traverse installation, video, and print media. Aranda has a special interest in the creation and manipulation of artistic exchange and the subversion of traditional notions of commerce through art making. She is currently based in Berlin and New York City. She holds a degree from Columbia University and is the Editor of e-Flux. For many years, Aranda has been interested in design and architecture. She observes the ways through which planning of public space; architecture and design are often thought of and employed as a way to control the body. These city-planning devices establish physical frontiers that respond to the fences of information and knowledge in our age of hyper-connectivity. These themes have lead the artist to take an interest in the notions of time, circulation and imagination by examining social interactions and the role that the circulation of objects plays in the cycle of production and consumption. She seeks, by highlighting its arbitrary dimension, alternatives to the experience of time.
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)...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
Pedro Reyes’s Los Mutantes ( Mutants , 2012) is composed of 170 plates that combine characters from ancient and modern mythologies...
In Up All Night, Waiting for the Chelsea Hotel Magic to Spark My Creativity Mario García Torres constructs and documents a hypothetical scene, situating himself within a lineage of artists and creatives that used to congregate at the historic hotel...
This series of small drawings is executed with varying materials—pen, ink, colored pencil, charcoal, and masking tape—on architect’s tracing paper...
This work needs to be considered in relation to one of his performances during which people were made to queue in front of the Kunsthalle of Frankfurt in 2003 (Tate Collection)...
This work, a large oil painting on canvas, shows a moment from Amorales’s eight-minute two-channel video projection Useless Wonder (2006)...
Lucas’s quadroquadro (círculo) employs familiar materials for the artist: wood, paper, and glass...
The headdresses, woven from artificial hair braids, symbolize historical icons including Martin Luther King, Kwame Nkrumah, Fela Kuti and King Guézo of Dahomey...
Mario Garcia Torres discovered the work of artist Oscar Neuestern in an article published in ARTnews in 1969...
Meireles, whose work often involves sound, refers to Sal Sem Carne (Salt Without Meat) as a “sound sculpture.” The printed images and sounds recorded on this vinyl record and it’s lithographed sleeve describe the massacre of the Krahó people of Brazil...
Wright Imperial Hotel (2004) is a sort of bow and arrow made out of feathers, a São Paulo phone book, and other materials...