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...
Miljohn Ruperto’s silent video work Appearance of Isabel Rosario Cooper is an archive of ghosts...
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...
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...
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...
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 Italian photographer Tina Modotti is known for her documentation of the mural movement in Mexico...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
The black-and-white photograph Men (055, 065) (2012) depicts two similarly built young men – young and slim, with dark tousled hair and a square jaw line – seated aside one another in identical outfits...
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...
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...
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...
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...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
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 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...