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...
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...
Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...
Re: Looking marks a new phase in Wong’s work which connects his region’s history with other parts of the world...
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...
Michigan Central Station is part of a larger photographic series, Detroit Photos , which includes images of houses, theaters, stadiums, offices, and other municipal structures...
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...
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 ...
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...
In Jackass (2008) by Ari Marcopoulos, his two sons, Cairo and Ethan, are pictured relaxing in a disheveled bedroom in their Sonoma home...
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...
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...
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...
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...