Defined as entropy, the second law of thermodynamics proposes that energy is more easily dispersed than it is concentrated. One basic illustration of entropy is to imagine white and black sand: once mixed together, it is highly unlikely that the contrasting grains of sand can be separated and restored to their original distinct color groups. Arturo’s Trópico Entrópico ( Entropic Tropics , 2012) considers the colonization of the American continent as a similarly irreversible process of cultural entropy. His inspiration derives from a place near Manaus in the Brazilian Amazon, where the Black River meets with the sandy-colored Solimões River, producing a river of two colors that extends over ten kilometers. In the late nineteenth century, the Brazilian rubber barons decided to commemorate this impressive natural phenomenon by covering the main square of Manaus with a design of black-and-white waveforms made from stones. The square is known as the Encontro das aguas (Meeting of the Waters). Decades later, Roberto Burle Marx used this same pattern in his famous Copacabana walkway in Rio de Janeiro. Since then, the design has spread across the continent to Lima, Bogotá, Cali, and beyond. Trópico entrópico uses this pattern to produce entropy in the exhibition space. Sugar, the material used, signifies one of many economic motivators for colonialism. Visitors are invited to collectively dissolve this modern design by walking on the brown and white sugar, and participating in its entropic mixing.
Felipe Arturo considers elements from urbanism, architecture, and art in relation to politics, history, geography, and economy. His works and projects often manifest as sculptures, installations, or videos, departing from concepts such as structure, sequence, and matter. They are deeply influenced by vernacular architecture and construction techniques, and reflect processes of assimilation and resistance to colonial and postcolonial processes. He frequently combines the language and materials of Modernism (e.g., concrete) with the informal methods of autoconstrucción (self-construction).
The installation Breathspace by Eduardo Navarro encompasses all the content presented at the artist’s first solo exhibition, of the same name, at Gasworks, UK...
Off-White Tulips is an intimate, meditative, and tender essay-film composed as a fictional exchange between Black gay writer James Baldwin and the artist, Aykan Safoglu...
Bread and Roses takes its name from a phrase famously used on picket signs and immortalized by the poet James Oppenheim in 1911...
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...
Kamau Amu Patton’s painting Static Field I originates from a system of electronic and digital media...
State (in) Concepts Opening reception on Friday, October 20, 2017 from 6 to 9pm with Margarita Bofiliou, Laure Prouvost & Jonas Staal, Alexandros Tzannis and screenings with Zbynek Baladrán, Filipa César, Keren Cytter, Cao Fei, Basim Magdy cur: iLiana Fokianaki Starting from the question ‘what could a European artistic program be?’, KADIST invites iLiana Fokianaki, Founder and Director of State of Concept, a non-profit institution located in Athens, to present a retrospective of her program that began in 2013...
Women Art Revolution Alicia Smith, Amapola Prada, Claudia Joskowicz, Clarisse Hahn, Fang Lu, Laura Huertas Millán, Lynn Hershman Leeson, siren eun young jung Women Art Revolution draws a selection of works from the KADIST collection that aim to initiate conversations around women’s issues, feminism, and feminist art...
Weekly Picks: Malaysia (30 July – 5 Aug 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Weekly To Do July 30, 2018 The New Play Project : Book One, at klpac, 1–5 Aug Four staged readings from a project that focuses on storytelling by four KL writers; Ridhwan Saidi, Adiwijaya Iskandar, Juno Hoay-Fern Ooi and Terence Toh...
Nghệ thuật Xin giấy phép Triển lãm ở Việt Nam | ArtsEquator Skip to content Tại một đất nước như Việt Nam, nơi có những yêu cầu không rõ ràng về việc trưng bày, Linh Lê nhấn mạnh rằng chỉ cần một thứ tưởng chừng đơn giản như xin giấy phép triển lãm có thể trở thành một cách kiểm duyệt biểu đạt nghệ thuật...
Nathanaëlle Herbelin — Musée d’Orsay — Exhibition — Slash Paris Login Newsletter Twitter Facebook Nathanaëlle Herbelin — Musée d’Orsay — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Nathanaëlle Herbelin Exhibition Painting Upcoming Nathanaëlle Herbelin, Jeremie en pull, 2022 — 22 x 27 cm — Huile sur toile Courtesy de l’artiste © Nathanaëlle Herbelin Nathanaëlle Herbelin In 4 months: April 22 → June 26, 2024 Dates provisoires — Printemps 2024 Fréquentant assidûment les collections du musée d’Orsay depuis l’enfance, l’artiste franco-israélienne Nathanaëlle Herbelin est invitée à mettre en perspective ses toiles et ses sources d’inspiration...
Nigerian artist Chibuike Uzoma brings dreamy paintings to Paris - arts24 Skip to main content Nigerian artist Chibuike Uzoma brings dreamy paintings to Paris Issued on: 30/01/2024 - 16:28 10:16 arts24 © FRANCE 24 By: Jennifer BEN BRAHIM | Valentine ERBA | Marion CHAVAL | Eve JACKSON Follow | Loïc CHALAVON | Sonia PATRICELLI After showing his work internationally, including in London, Lagos, Cape Town and New York, Nigerian-born artist Chibuike Uzoma is in Paris for his first solo exhibition at Galerie Mitterrand...