The two large-scale stereoscopic photographs in That’s That’s Alright Alright Mama Mama depict a recreation of Elvis Presley’s recording studio in Memphis, Tennessee. This study in doubles is underscored by its title, which repeats and doubles Elvis’s original song title. The images are hung in a specially angled wall and the viewers are provided special 3-D glasses in order to contemplate the image. The final result is the three-dimensional experience of a reconstructed site. More than a mere play with optical illusions and perception, Soo’s operation plays with the idea of the original and the replica to comment on the illusory character of any reconstruction, reproduction, or representation.
Born in Singapore, raised in Malaysia, and based in Canada, artist and curator Mark Soo’s practice is concept-driven and research-based. He works in a variety of media, often manipulating his images to emphasize to the psychological, physiological, cultural aspects of light and color. Recently, Soo has begun to create works that reconsider specific sites or explicit moments in social history.
Acting Exercise: Demon Possession is a video by Miljohn Ruperto that addresses notions of performativity, the self, and collective truth...
Miljohn Ruperto’s research-based multidisciplinary practice often deals with possession, re-enactment, mythology and archives...
Charwai Tsai’s photograph documents her Hermit Crab Project installation upon the construction site of gallery Sora in Tokyo...
After engaging primarily with video and photography for more than a decade, Chen turned to painting to explore the issue of urban change and memories—both personal and collective...
Comprised of fifty-one photographic postcards, Antin’s 100 Boots is an epic visual narrative in which 100 black rubber boots stand in for a fictional “hero” making a “trip” from California to New York City...
Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
A photograph of a tin box full of marijuana simply titled Green Box, speaks to the constantly changing status of the substance–once taboo or illicit, now a symbol of a growing industry in Northern California...
The Italian photographer Tina Modotti is known for her documentation of the mural movement in Mexico...
Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...
Miljohn Ruperto’s high-definition video Janus takes its name from the two-faced Roman god of duality and transitions, of beginnings and endings, gates and doorways...
In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...
In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...
As a visual activist for the rights of Lesbian, gay, bisexual, transgender, queer and intersex (LBGTQI), Muholi’s photographs radically transgress the conventional perception of lesbian and transgender communities in South Africa...
The print Patient Admission, US Naval Hospital Ship Mercy, Vietnam (2010) features an Asian Buddhist monk and an American Navy Solider on board the Mercy ship –one of the two dedicated hospital ships of the United States Navy– sitting upright in their chairs and adopting the same posture...
For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling....
In his composition, Chocolate Bars, Eggs, Milk, Lassry’s subjects are mirrored in their surroundings (both figuratively, through the chocolate colored backdrop and the brown frame; and literally, in the milky white, polished surface of the table), as the artist plays with color, shape, and the conventions of representational art both within and outside of the photographic tradition...
Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...
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